Showing posts with label witchcraft. Show all posts
Showing posts with label witchcraft. Show all posts

Friday, May 28, 2010

Delving into Divination: A Long Story of Silliness

Temperance (XIV): Dressed in faded red, she perches perfectly balanced and at ease on the twisted limb of the old tree, suspended in air rippling, spiraling, tingling with the great powers that surround her. In her pale arms she cradles the pulsing sphere — wisps of energy, the tiny fey beings, drift and rise like steam, swirling and weaving, twining around each other as they climb until they blossom into full, solid forms. Watery blue, fiery gold, the great-talonned dragon and the frantic phoenix entwining, arching skyward, each with an orb of its own, pure color. The stony gargoyle makes offerings; the little songbird opens its wings wide, about to take flight. Her thoughts turn around them, seeking the power of their presence. She touches the sphere, undisturbed, her long fingers moving lovingly in contemplation — the perfect, pale-white glow of a halo exactly framed by the curve of her small, delicate wings, the light of it whispering to her, her thoughts turning around each other, dark and bright, water and fire, a sensual dance of power, duality, tension and life. The brown curls of her hair float as if caught up in a warm, rising current. She holds the churning forces of the world in her mind, between her hands, and every movement is poised here, utterly, in this moment, like a gulp of delicious air, like a quiet gasp in the center of a storm.

- excerpt from my tarot journal

For one reason or another the practice of divination has been something that, for a long time now, has given me trouble. I just never seemed to "get into" it. Perhaps because of the amount of study and memorization it seemed to require (though for other subjects and practices this has never stopped me). Or perhaps because my day-to-day life is often so exquisitely routine that daily readings hardly seemed relevant. Or maybe both. Though I consider myself a generally intuitive person, cultivating this aspect through my creative writing, divination as a regular practice seemed... unnecessary, one of those things people did to feel "occult" rather than taking the time to analyze their motivations and behaviors in more mundane ways, or maybe to wow their friends at parties. But I don't go to many parties, lovely readers, not many parties at all.

Wednesday, December 19, 2007

Practicing the Daily Simple, Part II

In my last post about practice, I discussed some of the simplest daily ways in which I keep myself grounded and centered. These techniques--with the exception of the most formal form of meditation--can be practiced anywhere, at any time. Over the past year and a half, I've learned to weave them into the fabric of my everyday life, like a thread of silver that every once in a while catches the light and imbues the most ordinary of situations with a bit of enchantment.

These next few practices are more specific. They are less like the daily work of an artist in her craft, than they are like works of art themselves, moments of performance and movement that might be pre-planned or even rehearsed, but which constellate and emerge with intention as particular experiences of creative spiritual activity.


Teahouse Practice

I recently had an article published on WitchVox about this concept of "teahouse practice." This Buddhist concept gets its name from the story of a simple old woman who runs a teahouse on the edge of town. Though she never preaches a word about Buddhism, she embodies the traits of mindfulness and loving-kindness, and townsfolk come regularly to sit her in quiet presence and sip tea, even if they don't realize why, opening themselves to the inspiration of the dharma.

Working as a waitress, I've tried to incorporate this kind of teahouse practice into my interactions. I begin every shift down in the breakroom, taking a few minutes to change into uniform and wash my hands while cleansing and preparing myself mentally for the day. I leave behind whatever anxieties I've been carrying with me, or I find reasons to laugh about them and turn them into amusing stories to share with my coworkers. Cultivating peace and cheerfulness within my own self, I engage customers with intention, performing the somewhat ritualized greeting and serving acts with sincerity and presence. When I wish customers a "nice day" and flash them a smile, I make sure I mean it, always seeking that place within me where I really do wish for happiness for even the rudest of strangers.

The effect this practice has had on my work experience is palpable, with customers as well as coworkers. The diner/family-restaurant where I work is, admittedly, not the most classy or well-managed. Since starting there two years ago, I've climbed my way up to being among the top ten in seniority, simply because so many others have quit out of frustration or financial need. Yet I honestly do look forward to my job most days, I've managed to dance nimbly around melodrama and office politics time after time, and my own sense of inner well-being remains preserved. In the end, I feel grateful to have a job that allows me to interact so directly with people, working in a position of service to provide them with two of their basic needs--food, and company. Teahouse practice transforms the repetitive acts of an industry so often taken for granted, into ever-renewing moments of ritual spiritual work.

Hillwalking

This is the first form of regular spiritual practice that I do entirely for religious purposes, without any "daily grind" aspect--but only because I don't have a dog. If I had a dog, then our daily walks would be the perfect time to practice this particular spiritual work. Instead, I've had to find my own reasons and justifications to go traipsing through the local wooded park, while joggers and dog-walkers pass me on the paths with purpose and necessity in their eyes. The truth is, I am not fulfilling any physical need or family duty in going for long walks in the woods. Sure, it keeps me in shape (though I'm on my feet all day at work, anyway). But really, I go hillwalking because I long to be with nature, to be in nature, and to remember my own nature, before it is too easily usurped and suppressed by television and the internet.

But I'm getting ahead of myself. What exactly is "hillwalking"? It's a practice I first came across in Druidry, particularly in the works of Frank MacEowen, Philip Carr-Gomm and Emma Restall-Orr, although I think over in the UK it's also considered a secular pastime (like hiking, hunting or rock-climbing in the U.S.). In Druidry, hillwalking becomes a kind of movement meditation, in which a person travels through and explores the natural landscape with engaged presence. To hillwalk is to allow the body to interact intuitively and directly with the surrounding natural world, to follow whims and currents within the landscape. To move through the external, physical landscape of the woods, fields and hills as an interactive and revelatory form of exploring the internal landscape of the soul. Like the stillness of traditional meditation, the on-going movement of breath and body in hillwalking helps to blur the boundaries between form, spirit and space, transforming the perception of what was once opaque and solid into that which is fluid, interwoven and sacred.

Some people recommend utilizing this heightened, engaged consciousness to deal with particular problems, both spiritual and mundane. Formulating a question or problem before setting out, a person can "read" various aspects of landscape that they encounter along their path--animals, plants, bodies of water and earth formations, for instance--in the same way they would interpret dream imagery and experiences. Someone struggling with writer's block, for example, might find herself noticing the song of a mockingbird perched above a small pond, and begin to reflect on the relevance this might have for her current situation. I usually forgo this particular method, preferring instead to allow insights to develop organically through an intuitive experience of landscape, allowing whatever emotional or intellectual issues I have to resolve themselves naturally while I concern myself with the physical processes of my moving body.

Occasional Formal Ritual

This form of spiritual practice is probably what most people think of when they hear labels like "witch," "druid" and "pagan" these days--it's the most widely recognized, and yet also the most intimidating and misunderstood aspect of these paths. In my experience, there are a few main ways in which people approach the idea of "ritual" in the modern Pagan tradition. Some enjoy the sensationalized Hollywood versions of spell-casting and Black Masses, the exotic flavor of robes, candles and chanting in a strange tongue. Others are wholly turned off by how "weird" it all seems, confused as to why anyone would need or want such ridiculous and unfamiliar activities to be part of the religious life. For most people in this culture, religion is something passive, a worldview that you hold in the back of your mind and that colors your daily attitudes and behaviors, but which does not manifest overtly in anything more unusual than, perhaps, a weekly social gathering at one's local church. But then, there are those of us who look past the sensationalism and bizarreness of personal ritual, and understand the artistic evocation of beauty and the cultivation of spiritual connection and growth that can occur, and we understand the enchantment and the magic.

When I first started exploring modern witchcraft as a practitioner rather than as a scholar (the change occurred in early 2004, though it seems a lot longer ago!), its main draw for me was not so much its feminism or respect for nature (both of which were included in my liberal Catholic up-bringing) but much more: the chance to incorporate creative, personal ritual into my spiritual practice. Up until that point, my poetry and journal writing were the only forms of active self-expression that my religion included, and even those were frowned upon if they skirted too close to controversy. There have always been those in the Christian tradition who would prefer to keep "religious art" safe and doctrinally correct; but of course, I knew even in high school that trying to put such limits on artistic expression could kill it off quite effectively. Meanwhile, what little ritual that was left within Catholicism was communal and rote, both of which often kept me--a natural bewildered introvert at heart--from entering fully into the work. I longed for the enchantment of quiet solitary moments, lighting candles, burning incense, speaking words of poetry and crafting performances that were beautiful and inspiring (perhaps moreso because no one else was around to watch with critical or bemused eyes). Modern witchcraft seemed to offer this possibility.

I soon discovered, however, that modern witchcraft often has an unfortunate preoccupation with "magick" and spell-casting. Most discussions of ritual focused largely on setting up a sacred space or circle, inside of which the "real work" was done, seeking whatever magickal aims the practitioners desired. Monthly esbats, held on the full and/or new moon, were times to perform divination and various mundane bits of "magick," while the eight festival sabbats of the year were times of communal celebration, with a heavy emphasis on agriculture and often the impressive invocation of nature deities. For someone like myself, less interested in the agricultural than the ecstatic-philosophical spiritual life and with very few insecurities or desires that needed spell-work in order to satisfy, these types of ritual seemed redundant and sometimes even manipulative or selfish. For a long time, I didn't bother about the Craft, I dropped the provocative 'k' from "magick" and contented myself with meditation and simple visualization techniques.

Over the past year and a half, as I've studied the AODA first degree curriculum and worked through the gwersu of the OBOD bardic grade, I've begun to include more and more ritual work into my spiritual practice, though they remain scattered and often spontaneous. I've explored shamanic astral journeying and ritual within my personal "inner grove"; I've practiced techniques such as the AODA Elemental Cross and Sphere of Protection (based on more formal ceremonial magic traditions), as well as nwyfre (life-force) exercises, particularly during seasonal rituals. Most of the time, my personal rituals are simple, minimal and quiet. They're far from the impressive and complicated workings that most people picture when they think of "witchcraft," but they are active and creative nonetheless. Maybe one of these days, I'll go into more detail about the specifics--but for now, this post has gotten long enough, and the cold I'm fighting has suddenly decided to insist I go lay down and suck on a cough drop. When my body objects, I try to listen... Until next time.

Tuesday, May 8, 2007

Why Druidry?

There are several questions that always seem to come up when I talk with others about my spirituality: Why not be a pagan Druid? Why not be a "normal" Christian? Why not be a Witch, or Wiccan? Why not do away with labels altogether?

It is this second-to-last question that I want to address today (I'll leave the rest for another time). The question of why I have felt such a sudden and strong pull towards Druidry is perhaps all the more confusing because I first started my explorations into magic and mysticism through witchcraft. I have always been reluctant to jump from one spiritual path to another--to become a "window-shopper" of religions or to approach religions with a buffet-style pick-and-choose attitude. I believe that spiritual traditions have an integrity and internal consistency of their own, and that it is often more fruitful to explore a single tradition deeply, than to abandon any belief or practice that seems, on the surface, to be difficult or unappealing. Why, then, have I changed the focus and structure of my path to reflect that of modern Druidry, rather than continuing to identify my work as "witchcraft"? Why Druidry? Why not Wicca?

I am the daughter of Earth and Water,
And the nursling of the Sky:
I pass through the pores of the ocean and shores;
I change, but I cannot die.

- Shelley, from "The Cloud"
I'm not sure exactly why I feel more drawn to Druidry than to Wicca, though both I think are equally open to Christian or Christo-pagan perspectives. When I first became interested in the Craft and more occult topics, I began my explorations with witchcraft, and I often heard people talk about how it felt like "coming home." I often envied that feeling because, in some ways, it never quite felt that way to me. Then, on a whim one day, I picked up a book about Druidry--a collection of essays under the title The Rebirth of Druidry, edited by Philip Carr-Gomm. Many of the essays sparked my interest, but the one that really spoke to something deep within me that I hadn't known before was the one titled, "Druids and Witches: History, Archetype and Identity," by Dr. Christina Oakley. In this essay, Oakley explores the roots of the archetypal identities that shape that Druidic and Wiccan movements, and explore why they "feel" so different even though they share a lot in common.

One difference that I realized has always been important to me is how I consider myself in relation to the rest of society. The history--both the literal history and the idealized tradition--of Druidry is based on the idea that the Druids were not only priests, but the scholars, judges, advisers, poets and historians of their societies. They were integral to the healthy functioning of their community, and their wisdom was respected, celebrated and utilized openly. On the other hand, the dominant narrative about historical identity for most modern Witches and Wiccans is the story of the Witch Trials. Although we now know that many women who were killed were in no way associated with witchcraft, there is still the general idea at the heart of many witchcraft traditions that wisdom and power--especially that of women--is feared and rejected by society, that this is "just how it is" because society "can't handle it." The identity archetype of the "witch" remains the young seductress or old wise-woman living on the outskirts of the village, ostracized and misunderstood even when the community does covertly desire her or utilize her wisdom and influence. Personally, I was never comfortable with this latter archetype--I did not see it as something desirable and I never truly thought it was inevitable. While I could relate to and appreciate those in history who had been persecuted, and I know that the struggle for equality, integrity and acceptance is on-going, I could not bring myself to identify with that archetype. The ideal that spoke deeply to me was of the community in which spirituality and "wild wisdom" was integrated in a healthy and sacred way--and, even if this is not yet fully realized or even realistic, it is the ideal that rests at the heart of Druidry, even though modern Druids are just as likely to be bitter, anarchist or counterculture as any Witch these days. In the end, I felt that Druidry incorporated both: the revolutionary, and the stability of the leadership that a community needs once the revolution is over--just as it incorporates both solar and lunar cosmologies, and just as it is just as comfortable with private rites by moonlight, or large, joyful rituals by day in the light of the public eye.

Another thing that became clear to me as I read Oakley's essay, and the other essays in the book, was the different spiritual focus that Druidry incorporated. Wicca is highly and unabashedly agricultural. That is certainly okay, but I found that it did not speak to my personal situation and the root of my own spirituality as I had known it all my life. I have never been very good with or inspired by handicrafts, home-making and farming--although I adore animals, plants and nature and feel very strongly connected to them in a slightly different way. My personality treads the line between (and integrates both) the more philosophical and ecstatic traditions. I am not a farmer, but an artist at heart, with all of the risks and uncertainty that both philosophy and creativity involve. What I experience in nature is not the tamed farmlands and their warm sustaining embrace that the agriculturist knows, but the wild thralls and deep ponderings of the poet, the dangers of the dark woods and the mysteries of the ocean meeting the horizon, who often seem utterly unconcerned with the merely human. Druidry incorporates both, and individuals within Druidry are just as likely to be stuffy old professors of forgotten languages and obscure alchemical systems, or wild-haired and wide-eyed beatnik artists, as they are to be Martha-Stewarts brimming with the light of goddess worship.

In short, though, it's really just that I feel more at home. Every time I discover a new book on Druidry, I snatch it up and feel that thrill of familiarity. I still consider it a craft, and a form of nature spirituality, but I also feel that it opens up opportunities for me--both in terms of art and philosophy, and in how I conceive of my role within society--that Wicca never quite helped me to access. It's a personal calling, really... Maybe someday I'll understand it better than I do now.

Monday, April 2, 2007

Turning.

Last night, I dreamt of a witches' circle, of which I was the priestess. The gathering was small in the wood-paneled basement of my parents' house, and we each placed a small pebble of blue glass at our feet as we sat in meditation and prayer, before we rose and traced a wider circle with the movement of our bodies, turning and turning with linked hands.

Witch--which is odd, considering the term has never felt appropriate and I have come to feel very much the Druid. Indeed, there was some confusion about wording. At first, there were only a few intimate friends who looked to me to introduce them to a spiritual path that could transform their care of and concern for the world into a very real, very manifest form of worship. We met to invigorate peace and friendship. Many of them called themselves "witches" because they felt outcast and ostracized, but though it was a witches' circle (like none I have ever been a part of in my waking life), I was a priestess, not a witch. I was a Druid--or, beyond that, I was only me, but fully and completely. Then, there was a mother with her son, who accused us of having promised her a ship--not friend-ship or relation-ship, but a literal vehicle of escape and change, a thing with a deck and a sail and navigated according to the literal, well-charted stars. She had waited three days, she objected, and no ship had come. She stormed off, her son in tow.

As we sat in meditation, I held a small orb of lapis lazuli in my hand. The soul-depths of blue, the quick gasp of gold, the wisps of elusive cream across its cool surface--I began to spin it between my fingers. The others let out startled exclamations--how did I do such a thing, how was it possible? I chuckled at their astonishment--look, it's easy, I said, rolling the globe across the circle to another girl, there--it is already spinning, just as we all are, though we are sitting still... just scoop it up into the arch of your palm, remove yourself as an obstacle to its natural motion, and let it continue... But the girl fumbled and let it drop. She rolled it back to me again, and I lifted it with but a fingernail and rolled it along the curves of my body, bringing it back to rest again between my forefinger and thumb. I felt the rounded stone slip by my fingers like water--I felt the very ridges of my fingerprints ripple and undulate as if in tiny waves, urging on the turning of the delicate blue orb within the energies of the meditative circle, while my hand seemed yet steady and unmoving.

What could it mean?

The woman did not return, but her son did, with other young men, and with rocks. They began to beat at the door and above us we heard the shattering of glass as window after window exploded with the force of jagged rocks launched with maliciousness. See! a girl exclaimed--This is what the word 'witch' evokes--insanity, unreason... How could someone hate so much? She looked to me, but I had no answer. Another young man in our group was bounding up the steps, confronting the vandals, falling prey to the mob. Then they were everywhere, restraining and beating. Someone grabbed a girl by her long hair and dragged her, face down, along the gravel driveway. There was screaming and fear--but there was also the rounded current of our turning dance that seemed to lap outward from the broken circle. There were the smashed and jagged edges of the great windows, and outside there was the brilliant sun in an unmarred blue sky.

Who knows what such dreams mean? The articulation of fear, I would guess in this case. And somehow within it, the insistence that goodness cannot be so easily undone. But what I will remember is not the rioting destruction, but the palpable turning of so many bodies--bodies intent on smoothing out a channel through which peace might enter, bodies unaware and even skeptical of their own influence until it was shown to them in the gentle, unceasing turning of a precious orb no larger than a heart and no smaller than the sky.


Today's Ogham: Nion (Ash)
(transformation, possibility, destiny)