The Fairy Faith: In Search of Fairies Documentary

In the spirit of what this blog used to be, I want to share this documentary. It is amazingly accurate in the Way of Faery and shows the enchantment of the British Isles. I hope you enjoy it!

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The Transformation of “Witchcraft”



I came of age in the 1970s. Those were the early days of the feminist movement. I always loved femininity, so the idea of becoming a miniature – (and the was the word they used) man had no appeal foe me.  I was always a rebel and wanted to be seen as a realm person, having equality with men, but I did not want to be one. I was also always very drawn to the moon. I was a natural clairvoyant and telepath, and artist and visionary. Of curse back then there was not really any language for those things, especially in traditional New England. I had to come to the west coast to find put that I “wasn’t really from here.” and that I ” shouldn’t try to fit in.”

In the 1980s the Women’s Spirituality Movement emerged. I have since learned that most “movements” are concocted by socila engineers to promote their hidden agendas and that indeed the feminist movement was a CIA psy-op designed to get women  into the workplace so they could be taxed.  But since I had to deal with this movement, spirituality resonated with me much more that any corporate ambition. I was working class so that was all Greek to me.

The books were pretty good too. The Jungian things, books like Moon Moon by Anne Kent Rush produced in those hand made 1970;s hippy style paperbacks, books like Margaret Murray’s God of the Witches, and especially Dione Fortune’s Sea Priestesss. I had also studied Surrealism in art school and read about the girl friend of one of the famous painters or poets…hmmm. I think Paul Eluard, describing his girlfriend as mysterious, in the garden at night, a witch. These works resonated with me and my natural affinity to nature.

I grew up in nature. My playground was the woods, exploring the woods, discovering wildlife, reading fairy tales, dressing in my mother;s cats off clothes, pretending to be otherworldly among the trees, at the woodland lake, in the meadow with the ancient stone walls. Woman as sibyl, as shamaness, as fairy take witch had a great appeal for me. I was not alone in this. We all grew up much closer to nature than people do now despite their “green movement” which isn’t really green but corporate. The forest was my refuge and my healer, a place of magic.

As a forest person, I’d always been naturally attracted to Druidry. The White Goddess by Robert Graves sealed that resonance for me.

Over the last 20 years a very dark strain has entered in. Via heavy metal music, horror films,  books. Satanism has replaced the lovey celebratory nature of the seasonal rituals and “witchcraft” seems to be deteriorating into the evil that our Medieval ancestors  feared. Perhaps even then the art of the wise woman, the healer , the shaman, the cunning man deteriorated into evil, just as the pagan religions fell into orgies of human sacrifice and war.

This development has been extremely distressing to me. I do not want to be associated with this darkness. When I played Cameron / Babalon in Babalon in London, I did it as a creative project ( I had been an actress at one time). I had no idea who jack Parsons and Marjorie Cameron people were. Playing the Babalon roletwas fun, but as I hate war, I was disturbed at the Jack Parson’s excitement invoking “Force and Fire, my friend, Force and Fire” as the most desired reality in the Aeon of Horus. I never liked Crowley and still don’t. I am not a destroyer, but a preserver and creator. I feel I’ve spent my life watching everything I love being destroyed.

Now, I feel the old mythopoetic path of witchery is being destroyed. This probably has more to do with why I don’t write to this blog any more than anything else. These ideas work great in fiction, so that is where I will explore these themes. In fiction light and dark can dance without raining bombs on innocent people in sacrifice to some awful un-God. The theme of human sacrifice haunts us all because it is in our ancestral memories, but frankly it is the devil in the psyche that Christ sought to redeem so that it could end forever. The whole thrust of Christianity is to raise consciousness to a high vibrational level, thereby starving the dark lords and escaping their clutches. This is why they hate Christ. I never hated Christ. In fact, before I lived in London, my witchcraft was solidly aligned with the Virgin Mary.

Anyway this is my little rant. I wish for all my readers who are drawn to Malifecium that you see the error of your vision, that is it is a form of demonic brain washing manufactured to bring you down to the lowest common denominator. It backfires. It will not feed you.

The Wicca religion is filled with beauty, but one must always know that the God it celebrates is the Devil. It doesn’t have to be, but it seemd to be going more and more in that direction. This is the Being that is being uploaded into the ethers now. Not a nature God, or joyful, fertilizing spirit, but something evil.

Maxine Sanders even writes about it in the opening to her autobiography, Firechild describing a Druid ritual at Stonehenge in 1968:

“The ceremony went on until the killing of the old king when, after a few moments of dramatic knife waving it became apparent that the play acting was taking a sinister turn. Alex ( Sanders) was suffering sincere but blunt jabs that were trying to penetrate the beautiful, luckily thick, robes he was wearing; there was terror in his eyes and panic in his voice. The normally sedate priests and priestesses were screaming for the lifeblood of the old Oak King, the king of the witches, my husband…. This was witchcraft!”

So it was spelled out even then. I am curious about what you think.

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Two Ravens Dream

Significant Dreams

Klimt

Life Cycles and Numerological Symbolism

Occasionally one has a wildly significant dream that may hold value for others. I had this one this morning, full of archetypal symbolism.

Numerology tells me that 2010 was a 9 year for me. The end of a cycle. Time to say “Goodbye” and make room for new things. Make sure to visualize exactly what I want, and how I plan to make it happen for 2011, my number 1 year.

My birthday came in late January.  I did not feel renewed. Rather I have plunged inwards. Been very quiet, had writer’s block where every sentence I wrote sounded like a clunker. I broke through that a bit, then this morning, I had this dream.

Dream — March 9, 2011

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I am in a school, a university. A young man has been in causing trouble. 2 incidents cause minor concern, but I can’t remember what they were. Then the man shoots another young man in the head, just above the ear. It is all over the news.

I go into the restaurant side of the school. It is darkish, like a night club but there is no music. I rush in to get some papers out of a desk. I find two wooden ravens—one 3 dimensional and the other flat and carved in the style of the Salish tribes. The papers are messily folded up. The top one has blood all over it. I ask the host at the desk how it feels to be there after such a terrible incident. He and others say it is terrible. A sense of foreboding fills the atmosphere, a threat of death.

I leave that restaurant with papers and the two ravens. I take them nervously into a large classroom that looks like the cafeteria at Worcester State College (where I went a long time ago), but rather than tables, the room if full of children’s school desks. I want to save the ravens but cannot carry them. I must keep the papers. To my right here are big windows that let in lots of white light. I find a desk beside the window, and decide it is mine. I lift the lid and put the ravens into the back of the desk, where the pens and pencils are usually kept.  They are very tactile, wood painted black, old and handmade. I am not sure how safe they are in the desk, for might not really be mine, but I don’t let it worry me too much.

I wake up with a sense that the cycle is finally complete. Several story problems ( my fiction and a screenplay I am re-writing ) are solved all at once. New ideas are being downloaded. I don’t know what else will come to life in the next few weeks but writing is bound to be great.

New Year begins with Aries indeed. Even the moon has been passing through Aries. Uranus, my Aquarius sun sign ruler, is in Aries. The first growth of life in Spring is at hand.

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Ron Victor LaRochelle

Alchemy

Since I discovered Alchemy via Carl Jung’s famous work in the late 1970s, I have described my life to myself in Alchemical terms. The raven fits perfectly with the end of a cycle, a 9, number of the Moon, and the Alchemical phase of Nigredo. I’ve been through this before, but this time, the ravens are inanimate, toys that I can put away in a  child’s desk. They are handmade, natural human creations, though for the Salish tribes, Raven is the Trickster God. What does it mean that the God of the Land on which I live, the Northwest, has been reduced to a piece of black painted wood? Perhaps it is a talisman, though even that is put away.

I’d like to think it means that I no longer have to fear God’s  (Saturn’s ) wrath. That the darkness is no longer a threat. The blood on the pages of the manuscript was spilled turning my personal pain onto art, just as the ravens have been made into art. The man shot in the head symbolizes the necessity to get out of one’s head where one is firmly placed by the university, or formal education. That the others in the dream are men is perhaps a symbol of the left-brain world, the intellect vs.  intuition and feeling.  The fear of losing that head-space is a fear of death. Perhaps.

The Alchemical phase after Nigredo is Albedo, symbolized by the white light at the window. This is the phase in which we confront the opposite sex within, and move towards the reconciliation of opposites. Perhaps that is what all the young men are about.

I hope all of this means I am free to think and create from a pure place. I hope it means new adventures. Its been so quiet the last year or so as I strive to complete my old projects. Such a long period of retreat has been unusual for me. I am ready to leave the nest again

Spring: Benjamin Scalvenzi

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Ogham: The Mysterious Language of Trees: Alder

Ogham: The Mysterious Language of Trees: Alder

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Witches Wheel

Alder, alder, tree of the Faerie King

Who rises from the Underworld waters in Spring;

Raven bedecked, and oracle crowned.

Cone, leaf, and blossom, new life shall abound.

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Fearn (farin)

There is powerful poetry in the succession of trees, for the death dream of Willow in February is dispersed by the return of the Alder in March to summon the greenwood awake.

Alder springs from the watery places that are the interface between the mortal world and Fearie. The Alder tree is called King of the Waters. His red inner bark, and purple buds display his royal status. He is  connected  to two other water loving trees. The Queen of the Waters, Willow, and the Lady of the Woods, Birch. White Alder looks very much like Birch, suggesting a sibling relationship; Birch stands at the threshold of Winter, as Alder guards the gateway to  Spring.

Anyone who has walked in a young wood will find the Alder as straight and densely packed as troop of warriors. In the Gaelic battle of the Trees, Alder was said to fight most fiercely. Small wonder the Celts made their  battle shields of Alder wood, for despite its softness, it was imbued with the essence of the brave Faerie King. Alder also represents the Wounded King. When he is cut, his wood turns  red as blood. Reflected in the waters, these wounds may appear to be  blood spilled forth as a sacrifice to earth, guaranteeing the resurrection of all  living things.

Alder is the only deciduous tree to have cones as seeds. As we know from the Greeks, the pine cone represents the pineal gland, seat of vision and communion with the Divine. Dionysis  carries a staff with a pine cone at the tip, emblem of masculine fertility. Alder cones grow in a spiral pattern, symbolizing the role of male of fertility in the cycle of death and rebirth.

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Bran the Blessed

The famous Irish warlord, Bran the Blessed takes the Alder as his special tree.  He is another aspect of the Faerie King, Lord of the Underworld who springs up to the surface world with the strengthening of the light.  Alder is called The Shining Tear of the Sun. This image suggests  the rising sun reflected in water, inspiring a vision of the golden oracular head of Bran coming up from the Underworld.  Ravens attend on Bran.  Raptors that thrive even in winter, ravens carry messages from the dark realms into the light. The sacred Head of Bran speaks true poetry: Death conquers all; there is no death.

Because of its associations with Bran, the Alder is sacred to poets and singers, which were synonymous in ancient times.  Mortally wounded in battle, Bran  prophesied the events that would follow his death. He then told his men to cut off his head and carry it with them. Like the alder wood, it never decayed. They carried Bran’s head to Harlech where is sang for seven years. They carried it to Gwales where it spoke prophecies. They brought it to London and buried it under the White Mount, site of the Tower of London, to protect England from invasion. If not for the hubris of King Arthur digging the head of Bran up, it would still be there. Yet the ravens remain to sound the alarm.

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Fertility

Alder has another aspect of the Between.  He bears female catkins. These attract caterpillars that spin cocoons and re-emerge as moths and butterflies. Darkness to light, death to rebirth once more. Butterflies attend the King  by day. Moths keep him company at night. Alder is the foundation of magic—-transformation of the world, and of the self are in his power.

So primal is the power of trees that Irish lore says the first man was and Alder and the First woman a Rowan.

Alder is fertile and generous.  Though soft, he has an oily bark making him resistant to water and fire.  Therefore pilings for lakeside houses and docks, boats and even wooden shoes have relied on the wood of the Alder to last. He also gives many colorful dyes. Red, purple, yellow, brown, and black. Dye production and spinning of cocoons make Alder sacred to the Weaving Goddess, who also attends upon the Wounded King in the Arthurian Legend. He feeds many creatures. Bees love his flowers, grouse eats leaves, buds and seeds, rabbits chew his bark.

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Alder Healing:

Alder bark is prepared for medicinal use by carefully scraping off the dead outer bark and using the green, living tissue underneath. Alder bark can be simmered in water to make a wash for very deep wounds, rashes, and burns. The leaves and bark are simmered into a bitter tea for tonsillitis and fever. He helps with diseases of damp, relieving joint pain and inflammation.

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Alder Working:

March is a time for making spiritual decisions. Prophecy and divination rites come in handy for this., assisting your intuitive processes and abilities. Alder flowers and twigs are used as charms  in Faerie magic. Whistles made out of Alder shoots call upon Air spirits. It’s an ideal wood for making a pipe or flute.

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Our hopes and dreams for the New Year can be manifested in the Alder time. Alder grows quickly, so focus on  things that might be stalled. Use this bounding new energy to resolve old disputes and more forward into the new.

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Magical Correspondences

Ogham Name: Fearn

Letter: F

Tree: Alder

Deities: Bran the Blessed, Faerie King, Astarte and Tammuz, Phoroneus inventor of fire

Bird: Raven

Use: Gateway to Faerie, Divination, Protection, Healing, Musicianship

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Ogham: The Mysterious Language of Trees: Willow

Ogham: The Mysterious Language of Trees: Willow

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David Lewis Baker

Witches Wheel

Willow, Saille, Willow,
Oh silver drenched tree!
Long leaves fall on water
Rippling in moonlight
Ladies who bend
On the threshold of February.

Saille ( Sahl-yeh)


Charles Krebs

Moonlight on willow is a mysterious sight, especially on the threshold between Winter and Spring when the bare trunks cast crooked shadows over the frosted grass like spirits coming through the mists of the Otherworld.  The voices of the Faeries can be heard in the rustling of the willow branches, breathing, into the ear of the poet, their songs.

The willow is a remarkably feminine tree. It thrives near rives and streams, lakes and ponds, it shimmers in the moonlight, and provides shelter under its umbrella of graceful branches. Uniquely beautiful and mysterious, the willow invites entry into another world within the compass of its branches. If you have ever been inside a large weeping willow then you know how instantly the outside world ceases to exist as silence and diffused light encompass you. It is this quality of the willow that makes it one of the first trees of Faery.

Pagans have always  associated the willow with the Triple Goddess of the Moon. Sacred to Hekate, Goddess of the Dark Moon, the willow stands as the gateway to the Realm of Shades or Death. The weeping of the willow mirrors the grief of those left behind, as was the Greek poet Orpheus who, armed with willow branches, entered Hades and returned, not alas with his beloved wife, Euridyce, but with the gift of poetry.

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Tree of Poetry

As the “witch’s tree” tree of poetry, transformation and healing, willow is connected with the Bright Brighid whose Day of Initiation is February 2, Candlemas, a Festival of Lights. In the Pagan mind, death is also an initiation, a transformation not to be feared any more than the peace found under the branches of the willow tree under the full moon when one feels transported to a strange and beautiful place.

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The willow tree reflected in the waters brings moon magic to earth, creating a numinous, visually confusing, liminal effect. This may be why it the tree of romantic love, for what can be more difficult to interpret than the varying faces of love in the throes of deep attachment? Valentine’s day is also in February, suggesting that Love is the fulfillment of the Light celebrated at Candlemas.

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In some traditions, willow is the thirteenth tree. This may fit it in at the leap year, the liminal 29 day of February, that was the modern concession to the natural rhythmic sequence of the lunar year.

Willow Working

Spell

Throw your shoe up high
into the branches of a willow tree;

If he branches catch and hold your shoe,
You soon will married be.

The Witch’s Tree

The magical properties of willow are as numerous as its medicines. Faery magics of enchantment, wishing, romance, and divination under the moon are enhanced by the presence of willow. Its powers are beneficial, protective, nurturing, inspirational, joyful, and peaceful. This throws a provocative light on its role as tree of mourning, for how can death be evil when couched among so many life giving powers? Rather, willow traditionally inspires courage, and helps one overcome the fear of death. Willow is flexible, fluid, resilient, and strong. It focuses intuition, induces trance states, attracts Faeries and other spirits. It eases transitions, especially into the unknown.

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Because of the many medicines dispensed by the willow, it was much sought after by Cunning people for healing purposes. As a feminine tree connected to the moon, willow bark provides pain relief for menstrual cramps and child bearing. The gemstone for willow is the blood-red carbuncle. This is another image that evokes women’s mysteries of bleeding and fertility. Burning willow lends energy to healing magic.

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Willow wands are excellent for moon magic, and its wood is good for making magical harps, accompaniment for for poets for ancient times.

Divination by Willow:

Willow increases psychic vision into the watery Otherworld Realms under the waves. Dreams, and premonitions are stirred by willow’s influence on the deep subconscious mind. Just being near a willow tree can induce trance states in which prophetic oracles can be mediated from Faery into our reality. Divination by smoke from a willow fire while passing a willow wand through it to disturb its shapings, is a powerful divination technique for those with the second sight. Scrying into water where willow is reflected on nights of the full moon, is venerable tradition.

Awakening of dormant powers and emotions, pay attention to dreams. Love is n the way. Positive transformation from one way of life to another, The need to be flexible an adaptable. Relief from painful situations. Encounters with Faerie, or  the deceased.

Magical Correspondences

Ogham name: Saille
Letter: Z
Tree: Willow
Deities: Brighid, Fand, Sinend
Bird: Hawk
Animal: Hare, Bull
Color: Haze
Use: Wands, Psychic Divination, Fertility, Pain Relief

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Ogham: The Mysterious Language of Trees: Ash

Ogham: The Mysterious Language of Trees: Ash




Ash, ash of the long strong twigs
You timber creation!
Branches of ash trees gather new light
In the deep, dark mazes of January snows.

Nion

The ancient Ash, bare branched in winter, is a witchy sight. Its gnarled branches and tangles of twigs seem to be holding secrets, perhaps spells cast up from its roots by the Three Fates who, in the perpetual night of the Underworld, weave the threads of destiny. This is the power of World Tree, Yggdrasil, the Ash.
It was from the branches of the Ash tree that Odin hung himself for nine days and nights to gain the power of the Runes, or magical speech that could harness and transform Fate according to his will. For is it not true that when something is named, and especially when it is written, that it comes within our power to control it?

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As for the Ogham, the Ash, bare in its season of mid winter, is like a great scrawl, signifying that outward life is unformed as yet, that the great energies emerging from below the ground, are not yet set into the patterns of things to come. This leaves them vulnerable to the Magician who can grasp the pliable tangles and move them into the patterns of his or her desire. It is as if the branches can be arranged so that they write one’s spell upon the heavens.
The Ash is a tree that loves the wet ground. Thus it is said to be rooted in the Well of Wyrd, the deepest portal into the Underworld out of which the Runes were born. Around the rim of the Well, the Weavers sit, catching the Runes in their threads to re-create the world.
At the base of the tree is the serpent of wisdom, who winds its way up the trunk of the tree, and into its branches, to peer out of its leaves in search of those who would seize the knowledge of the forces of Creation. Thus Shamans, known in European cultures as Witches, used this tree as a road into the deepest levels of the primal Unseen, and then again, as a ladder rising up the planes into the highest of Celestial realms, where the Moon, Sun, and Stars confer another kind of wisdom.
It is the branches of tall and ancient Ash tree that gather the new light from the Heavens and bring it to Earth in preparation for renewal in Spring

Yggdrasil: The World Tree

Ash Working

When entering and leaving Faery by way of the inverted tree, it would lend potency to your working to know the lore of the Ash, for this detail will lead you deeper into the Underworld, and open more realms to you.
The efficacy of magical work hinges on the build up of certain images in the aethers that surround planet earth in the sub-lunar plane. The older the images, the more power they hold, and that power is made of the thought forms of every person and animal who has projected their intention towards it. An avatar as ancient as the Sacred Ash, the World Tree, Yggdrasil, is a battery of potent imagery that can catapult you through time and space to where the soul imprints of past Magicians  and Witches are still active.

Divination by Ash: New energies are stirring deep inside you. take time to meditate and grasp the messages that your subconscious mind is sending you.

One way to do this would be to cast the magical circle with the ash as its central axis. Let it take you into the Underworld, and then up into the stars. Pay attention to what you see, and what and whom you meet. Keep a  journal, and record of your journey, and by doing so, self knowledge will come to you.
You may begin to have prophetic dreams. Write them down. remember the Scared Letters and their power to influence the Web of Wyrd at this time.
Magical tools made of Ash are said to be most potent as they draw on the strength of the World Tree.

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Magical Correspondences

Ogham name: Nion
Letter: N
Tree: Ash
Deities: Gwydion, Lleu
Bird: Snipe
Animal: Adder
Color: Clear
Use: Wands, spears, lintels

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Winter Solstice Mysteries

Winter Solstice Mysteries


The longest night of the year is at hand. For three days and nights the sun stations below the rim of the horizon, deep in the underworld. Our ancient ancestors, immersed in, and dependent upon, the fluctuations of natural light and darkness, feared what would happen if the sun failed to return to the upper world, leaving them in perpetual night.

The further north our ancestors lived, the greater was their necessity to insure the resurrection of the sun, yet the sun’s strength was needed in all lands for the growth of the crops , whether they be fields of grain or vineyards.

In the pre-Christian world, people perceived that everything was alive, that all of nature was imbued with spirit; animals and plants were animated by the same divine life force that filled mankind. The planets and stars, remote and shining, were gods, the earth was the fertile mother.

The sun was the most glorious of the heavenly gods, for it provided heat and light and quickened the life in the soil. The sun was thought to be a living being that died and was reborn, whose return from death made the plants blossom, the animals give birth, and gave joy and prosperity to the people. Therefore was the sun considered to be the savior of mankind. Because of this, Winter Solstice has always been a time of encouragement and celebration.

It is interesting to note that in northern climates, where the dark is long and cold, the sun is perceived as exclusively benign, whereas in countries closer to the equator, the sun becomes a tyrant that dries up the land, whose heat and light is oppressive. These qualities are reflected in their religions. The extremes of dark and light mirror the duality of good and evil in Northern Europe, whereas a harsh, angry jealous god who must be placated in the Mediterranean and South America.

The symbols of Christmas come out of the ancient Mysteries. The evergreen tree symbolizes everlasting life. Lights are placed in the trees to simulate the sun shining in the branches, ornaments in the shape of pine cones are added to encourage the trees to bear, shining orbs of all colors are also representations of the sun. Before electricity, candles were lit in the trees; fire stolen from the gods has the power to lure them closer to the earth.

Cultures from ancient Egypt to Northern Europe celebrated the return of the Light of the World around December 21st or just after with feasting, songs, and gift giving. The giving of gifts was not always a commercial activity, but an affirmation, and participation with the earth bringing forth its many gifts to support the lives of the people.

Saturn and Santa

Folk tale depiction of Father Christmas riding...
Image via Wikipedia

The Romans celebrated Saturnalia in honor of Saturn, god of agriculture, with a celebration of Misrule, turning everything topsy-turvy to break apart the old crystallized pattern of the previous year and create a new order. The tradition of ordaining a peasant King for a Day, and making the real king a pauper, symbolized transformation from darkness into light. This practice also accorded the king the same status as the sun, hidden away in the darkness for one long night before he returns to set things right again.

Santa Clause has his origins in Saturnalia. As God of Agriculture, he gives many gifts in anticipation of the plenty to come. He carries the holly, an evergreen tree with berries that mirror the stages of life, and the mistletoe with its suggestions of Druidic fertility rites. Originally called Saint Nicolas, or Father Christmas, he was slender and dressed in green before the Coca Cola company requested he be dressed in the red and white of their logo and associated with merchandising. He grew fat and greedy, reflecting a more sinister alignment with Saturn as devourer of his own children.  With this stroke of marketing propaganda, the true Spirit of Winter Solstice, of Christmas, of Hanukkah, and all festivals of light, has been confined in the darkness of the unconscious of modern people to make way for a frenzy of consumer spending. Yet we, though all of focus on material things, a longing for the return of the Child of Light can still well up in those moments when we stand in the glow of the colored lights on the houses, smell the fragrance of the tree, or are stilled by the sight of candles flaring in the darkness. We may still even pray for the spirits of peace and goodwill to shine over the earth with the rays of the new born sun.

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Ogham: The Mysterious Language of Trees: Rowan

Rowan

After November 1st, we enter the darkest time of year. A bright branch of Rowan is like a torch in the night and at the heart of each flame-colored berry is the five-pointed star of protection. Little wonder a Rowan wands were used to ward off enchantments.

The Faery gateway of the Green and Burning Trees, suggests the  green and burning quality of Rowan.

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Witches Wheel

Rowan berry, rowan berry
Ends in a yellow star.
A wand of rowan above our beds
Is an anchor in dark December dreams…

Luis ( loush)

The lovely Rowan is the fire in the night. With its bright orange berries, it lights up the perpetual twilight of winter with a touch of brilliant warmth much like the hearth fires our ancestors gathered around as they hunkered down for long hours indoors.  For most of their waking hours, the fire and the candles were the only sources of light. Small wonder that a tree bearing the color of flames would be perceived as protective.

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There was a time when fire was so scarce that it was kept very safe and was never allowed to go out. Our very early ancestors did not know how to create fire; they knew it as a gift from the Gods. Fire was carried in lamps and delivered from lamp to lamp. Woe to the person who let the fire go out!

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In the Book of Balymote, “Luis is the delight of eye that is Luisu”, or the lambent color of flame. In modern Irish Luise indicates a red glare with added luster or sheen. As fire keeps off predatory animals and freezing cold, it also has the power to ward of demons, faeries, and ghosts. To that end, rowan is planted in graveyards to keep the dead from rising. The wood of the Rowan was used by the Druids on funeral pyres for it had power over death and rebirth.

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The association of Rowan with fire is one reason it is ascribed to Candlemas and the Goddess of the eternal flame, Brighid. The poetry of this may be why the Ogham was made to correspond to the Julian calender of a January 1st New Year. But the symbolism of the Rowan also suits the festival of Winter Solstice. The use of Rowan as a protective amulet toward off the darkness of December, to survive for the time when the light begins to return, is a strong point in favor of Rowan belonging to December.

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The magic of Rowan guards us against the forces of chaos and destruction, strongly linked in the minds of our ancestors with darkness and the creatures that prowl unseen and hungry at the doors and windows. Rowan promises rebirth with the increasing warmth and light that comes after the Winter Solstice.

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Rowan was said in ancient times to have been guarded by dragons.

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Rowan Tree and Red Thread,
Gar the Witches tyne their speed.

Rowan tree and red thread slow down wicked witches, for it has the power to bind to malevolent forces. Magic wands made of Rowan branches are excellent for this purpose. In celtic countries, spindles and spinning wheels were made of Rowan.
Rowan, also known as Mountain Ash, is one of the trees of the sacred Faery groves of oak, ash, and thorn.  Scottish Faeries are known to hold celebrations within stone circles protected by Rowan trees.

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It is so sacred to the Scots that the old law does not allow use of any part of the tree except for sacred purposes.
Another reason for the Rowan’s protective influence, and its magical nature, can by found by examining the berries themselves, for at the end of each one is a tiny five-pointed star, or pentagram.

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Rowan Working

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It is the deepest dark of winter. You sit close to the fire to stay warm. The fire sets you dreaming so that you see the flames part and desire to walk between them. In you minds eyes, they flames become two Rowan trees. Pass between the trees, bright with red berries, into the snowy landscape on the other side, bringing with you the fire of Luis. Let it illuminate your path.
A necklace of Rowan berries is the Red Thread that confers protection from evil spells.

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Divination by Rowan: You need protection and nourishing through this time. Creativity, vision art, poetry and storytelling are inspired as you slow down and focus inwards with the flame of passionate inspiration to guide you. Health and strength improve.
Magic can be done by placing Rowan twigs above the doors and windows for protection. Place Rowan twigs in the shape of a cross and bind with red thread to be carried as a protective amulet.

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Another name for Rowan is Witch Tree or Wicken Tree and can be used for divining precious metals in the way hazel is sued to find water. Rowan can be used to increase psychic powers, and is a fine ingredient in spells for healing, success, safety, and is used to make excellent magic wands.

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Magical Correspondences:

Ogham Name:
Letter: L
Tree: Rowan
Deities: Brighid
Birds: duck
Animals: unicorn, bear
Color: flame red
Uses: magical protection

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Babalon Diaries: # 17: Invocatory Theatre and the Babalon Project

Aline DeWinter: Invocatory Theatre and the Babalon Project

Interview by Alison Rockbrand

This is Part 17 to a series of posts about my adventures during 2005, leading up to the performance of Paul Green’s play Babalon. The story is full of cloak and dagger, initiatory strangeness, chaos, and hysteria. It shows what can happen on the Magical path if one is not careful…

Directed by occultist, Alison Rockbrand, Babalon was performed on December 16, 2005, at the John Gielgud Theatre at the Royal Academy of Dramatic Arts to a sold out audience of London’s finest occultists and magicians. If you want to listen to it, click Radio QBSaul: Archives: Babalon. I played Marjorie Cameron/Babalon. I am called Angela Murrow because I had to hide my identity.

by Air Adam

by Air Adam

As part of her on going academic research into esoteric acting and performance/theatre at the Rose Bruford College, Alison Rockbrand interviewed me about my creative process. She was  especially interested in my use of ritual to develop roles in acting and dance.  Most actors at one time or another, study Method Acting developed by Constantin Stanislavsky in the late 19th century. I recently learned that he made great use of esoteric methods in training actors how to embody their roles. I wonder how far he originally took them in terms of Otherworld contacts….

Alison Rockbrand:

Aline DeWinter is an American medium, tarot reader, witch, writer and performer whose work has crossed from the Seattle Shakespeare Company,to the dance performances of the Companions of Musavir, to working on esoteric theatre projects in London, England where she lived for nine years. She is the writer of a detailed and extensive blog on what she calls ‘the magical path’; included in this blog is an account of her experiences while working on the esoteric play by Paul Green, Babalon, of which I  myself was the director. I spoke to her on her experiences as an individual performer in the realms of esoteric theatre and dance.

Interview with Aline de Winter

AR: You describe yourself as a witch and as a performer, can you give me some idea as to how you interpret these terms and how they relate to each other?

AD: Well, I think I have always been what I would call a witch. When I first started working with the Seattle Shakespeare Company in the 1980′s I started to feel that there were deeper levels to Shakespeare that no one was really investigating. I tried to bring my magical awareness into my performances.

AR: What do you mean by ‘magical awareness’.

AD: At the time I was doing a lot of Kabbalistic magic, you know from the Jewish Kabbala. I was getting up at five in the morning to do these meditations which were based on that system, trying to increase my esoteric knowledge. But I was always a natural witch, I always just somehow knew how to do magic. It was like what they say about shamans, I was just called to the path I am on by the spirits themselves. I have heard the same sort of thing from Native Indian shamans with whom I have had a lot of experiences. Basically I knew how to tap into other dimensional reality and bring stuff through, though my body. I would move my mind through a door. But at the time of my work with Shakespeare and particularly with the part of Lady Macbeth, I was just trying to integrate my knowledge with what I felt were the deeper levels in that play.

AR: How did you accomplish this integration?

AD. One example is the scene where Lady Macbeth conjures of all of these dark spirits or demons in order to make herself stronger. In the performance, we thought of that scene as an actual magical ritual. We drew a circle, and conjured the directions, and treated the scene very much as you would in ceremonial magic. We thought of the scene as an actual magical ritual though we were quite careful not to fully conjure the dark energies that Lady Macbeth was conjuring, or at least I did not conjure them into myself as she was because that would have been too chaotic. But we still  treated it as though I were real, as though the spirits were being spoken to during the performance. We also banished them everyday after the rehearsals and performances; we were careful to cleanse to space magically after every performance.

lady-macbeth Ellen Terry as Lady MacBeth

AR: Can you tell me something about your preparation for the performance of that role?

AD. Well as I said I was doing all this Kabbala, and that helped me to get to some of those deeper levels. But the way I always prepare for such roles is through ritual and through the use of images. I would find the right image of the magical levels within the character I wanted to use during the scene and then I would take those images into my own body, or my own awareness. I finally found that it was easier to do this with dance because then I can just totally let go in performance and let the character or the spirit I am trying to work with completely take over, like a kind of shamanic possession.

AR: You said you also used ritual?

AD: Yes, when I practice at home I always begin the practice by drawing the circle and calling in to it the energies I need for the performance. Its a magical ritual that I repeat every time I rehearse because I am trying to do magic on the stage and it takes a lot of practice of that ritualistic kind to accomplish that. The ritual might vary, but its a ritual the same as in ceremonial magic where the circle is drawn before the spirits can enter. It was the same when I started working in dance.

AR: Can you elaborate about your work in dance?

AD: I started to work with the dance company, Companions of Musavir, performing sacred dances. I was initiated into the Sufi Order in Paris in 1982.  In those days when I was dancing an doing a lot of theatre my whole desire was to use theatre as a magical vehicle.  There were very few people, if any, who had the same idea as me- only Elizabeth Dickinson, the director of the Companions of Musavir - had this as the real reason behind the dance company. I was one of two dancers who got that. I felt I could do more of what I wanted with them. I started doing my own choreographies which sprang out of my desire to unite with a Goddess or God- as Circe, Melusine, Salome, Ariadne and various others.

circe

Circe by Waterhouse

AR: What was your process in preparing for that kind of role?

AD: When I was working on Circe, once the choreography was set, I would move my consciousness into what I have to call ‘the Circe current’. I would try to connect my consciousness with that of the Goddess, which feels more like a specific current of consciousness rather then the mind of a character. Its something from a different reality. Then I would often find new ways to move in the choreography and a lot of it would change based on my connection. I would do this over and over again, as a ritualistic, magical and spiritual practice as a preparation for performance.

AR: How was the performance different from the rehearsals?

AD: In the rehearsal phase I would just be contacting it myself, letting the Circe current show me the dance and letting in use me to find the right choreography. In performance, I would mediate on stage between the Goddess Circe and the audience. I would try to bring something magical through to the audience. However, you never know if its going to work. You can’t control the spirit. Its a willing co-operation. If it does not want to manifest in a certain performance then there is nothing you can do. You have to work with it and develop a relationship with it, so that is why there is so much ritual practice involved- it makes the connection stronger.

AR: How do you develop this connection?

AD. I always invoke, I develop in magical circles. I make a circle, I invoke the spirit and then I let it take over me but without letting go of my critical side so that I can work. It develops through the ritual practice, but in that practice I am making my self very open emotionally. I am trying to release my conscious mind and go into the subconscious, which opens you up emotionally, and then  you can connect to the spirit through a strong emotion. In magic we often use sygils and symbols to get in touch with the subconscious mind and I use those to connect the spirits as well. I use the heart chakra combined with the third eye, which then makes you telepathic with spirits that are good for you,that have a higher energy level. From the solar plexus into the lower chakra levels you get demons who feed off your sexual energies, which can be very debilitating.

AR: What is there to be gained from this kind of connection to a spirit?

AD: Every time I perform in this way and get into the body of a spirit, or mediate for a spirit to an audience, it alters me in ways I sometimes do not know about until much later. I have gotten many gifts from this kind of practice, mainly new abilities or new insights into myself or the world. These are magical gifts which are given from the spirit who has a different reality to me, and when I communicated with it on this level, something of the spirit always stays with me, forever. And it can alter reality as I know it as well. Things change, strange things happen, my life changes. It could be a dangerous practice and many people on the occult path go insane from conjuring demons. If you conjure positive entities, then good things will follow, but often when you deal in Black Magic, then bad things tend to happen and people loose themselves. With the Babalon project, I felt that the energy of Babalon was very fiery and chaotic and many bizarre things happened during the rehearsal process in London. But I gained a lot from Babalon, especially lots of Kundalini energy rising up my spine.

AR: Can you tell me more about your preparation for Babalon?

AD: I have written in my blog about the experiences with Babalon by Paul Green and with the spirit of Babalon because it was something that altered my life in many ways and in which I saw how the use of certain energies and types of magic can have major effects in reality. In preparation it was very magical because the play itself is alive- it contains some of the Enochian keys of John Dee and Edward Kelley which were used by the occultist Jack Parsons to complete what he called “ The Babalon Working”, a magical rite to call the energies of the spirit of Babalon into the world at large. Those energies were not the kind I was used to dealing with. They were darker, more fiery. In rehearsal we sang the Enochian keys and it would get very weird. There was definitely something happening when we sang the keys in rehearsals. Since all the actors were occultists and magicians, it would seem that we could not help but actually perform aspects of the Babalon Working whenever we performed those scenes in the play.

AR: Did this differ from your private practice?

AD: In my private practice I would draw the circle, call the directions as is done in most Wiccan and ceremonial magical rituals, then I would use the Babalon sygil which Aleister Crowley created to try to connect to the ‘Babalon current’ . I would work to bring through the Babalon energy. What it felt like was a very disruptive energy, like the earth was falling from underneath me. As always I experienced it as a dimensional shift. Then Babalon would appear to me. Babalon shows up as a red fiery figure covered with jewels. Then I would walk into that figure. I would just move my body into the body of this spirit Babalon and I would focus on what that felt like, and try to remember the feeling of that for the rehearsals with the rest of the cast.

AR: Was the same thing happening in performance?

AD: No. In performance I felt as though Babalon was talking directly through me to the audience. There were moments in the performance when I felt as though the energy was really being manifested directly to them. My performance was a magical act to conjure Babalon and I think she was definitely there and I think the audience could feel that. But each time one of these spirits manifests though a medium, it will take on aspects of that person as well. So my invocation of it would be different from another actors.

AR: You said you experienced magical phenomena during the rehearsals for Babalon. Can you elaborate?

AD: The play had a magical effect way beyond just the rehearsal room. Not only on myself but in the real world as well. There is one incident which happened during the rehearsals. It was towards the end of the rehearsal process and nearing the performance. I had a problem with my flat and so I had to go and stay with a friend of mine near Hampstead Heath. At one point  she told me to find someplace else to stay because another friend of hers was coming from Germany for her job in Hemel Hempstead. The German friend’s return home was delayed all of a sudden when the factory she was working at blew up. It turned out that the factory was a producer of airplane fuel.  It’s very bizarre because Jack Parsons, the protagonist of Babalon, was, in real life, one of the inventors of rocket and air plane fuel. He was killed when he dropped a canister of rocket fuel and it exploded. His death is also the climax of the play.  I find it incredible that this should have happened so close to where Babalon was being performed and only a few days before the performance, and that I who was  playing Babalon, was directly connected to someone who worked there. It’s horrible though, really.

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The Babalon Working as it was performed by Jack Parsons was supposed to bring the energy of the ‘Babalon Current’ into the world at large, to affect the outside world and to have a major effect on humanity. Many people have wondered what was actually accomplished by it though, as Parsons was killed in an explosion not long after. I think we awoke something in our rehearsals that had a similar effect. We  performed a version of the Parsons Babalon Working and a factory close to us that stored air plane fuel blew up.  That is what I mean about real effects. This type of esoteric theatre effects things.

(Aside by me: This why we say “Don’t do this at home….” Luckily no one was hurt.)

AR: What effects did the experience have on you personally?

AD: Its always like a kind of initiation because something in me changes and a whole new side of my personality can develop. The experience with Babalon brought through something that was not there before. Initiation is about creating a holistic self  from these currents, dimensions, or conciousnesses, and letting them add to by body and to my knowledge. I have more energy then I do this. Also, the spirit becomes a muse for me, and though it new connection are born and I gain in gnosis. Working with Babalon I contacted things I had not contacted before, but now I always can again. I can always call that spirit or energy back. I still feel very connected to it today. It affects objective reality.

AR: Do you think this kind of experience is possible though other theatrical means? Do you need to be an esoteric actor to experience this or can it happen in other theatres, such as those in which use shamanic techniques ?

AD: I have done a lot of work with shamans and I have seen many of their rituals on Native American reservations in America. You cannot take the techniques of shamanism away from the shamans and expect to get the same results. Those techniques are tied to the land, to specific trees, or lakes or other natural elements, and to a specific tribe. I have seen shamans perform with feathers that were 1000 years old passed down a family line- a lot of the magic is in those feathers. Shamans are healers and they work for the whole community. There may be some similar techniques in esoteric acting, but its not really shamanism the way it is used traditionally. Our practice of Esoteric theatre is urban, it travels with us, its not tied to a place or a people. Its like a kind of urban shamanism. But these shamans like esoteric actors are trained to be able to see into other dimensions and to bring things back. I do not think that is what is happening in other theatres because the people involved are not trained in that way, the audience in not being changed in the same way because the actors are not calling in other dimensions of reality. They are exploring this reality, but we are going somewhere beyond there.

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And of course, if you want to listen to podcasts of our December 16, 2005 performance of Babalon, the links are just below.

Babalon: Part One

Babalon: Part Two

Please leave comments. For updates of the Babalon Diaries, subscribe to my RSS Feed or my email list. There is more to come…

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Ogham: The Mysterious Language of Trees – Birch

Birch

The graceful Birch is the White lady of the Woods. It is fitting that these trees,
ghostly in twilight, should stand at either side of the gate of the Celtic New
Year of October 31st, for it has come down to us that passing among the
birches can take you into the Otherworld.

_2F_images_2F_origs_2F_909_2F_new_beginning_autumn_aspen_paintings_birch_tree_art_by_jennifer_vranesNew Beginnings by Jennifer Vranes

Witches Wheel

Birch, white stemmed birch
Stands pale in the dark forest.
A rod of Birch will cleanse us of evil
And usher us through November’s long doorway…

Beth (Beh)

There was an old Samhain tradition of running down an avenue of birch trees
while being flogged with the twigs as a means of purification for the New Year.
This birch portal at the gate of the New Year mirrors its position as first of the
letters, for it is the opener of the gate to the Ogham, the creation of Ogma
Sun-Face, God of Eloquence.

Birch was traditionally used to make cradles for babies to protect them from
being stolen by the Siddhe. It seems typically paradoxical that the tree that
opens the doors to the Otherworld would be used to protect a child from
possession by it, but perhaps the birch bark cradle served to fool the Gentry
into thinking the child was already theirs…

In Britain, the maypole is made of birch while the wonderful scraggly birch twigs
are used to kindle the Beltane fires. The best witches brooms are made of birch with those wonderful black twigs as sweepers.

There is an old tradition of burying the dead with conical birch bark hats on their heads to insure the purification of their souls.

The lines are from the English ballad: The Wife of Usher’s Well. The lady’s sons appear wearing their birch bark hats — proof that they are dead.

It fell about the Martinmass,
When nights are lang and mirk,
The carlin wife’s three sons came hame,
And their hats were o the birk.

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Birch Working

Imagine the birch trees standing across from each other, their topmost branches in the shape of a Gothic arch. On the other side, calling you with its mysterious, mist filled grandeur is Faery. If you walk through, you will enter the trance that allows divination by the Ogham.

Divination by Birch: Protection from harm both physical and magical. Cleansing, leaving the negative, life draining energies behind to start over refreshed. A time of going inward to store power in purity. Clear the ground of
obstructions so that new things may grow. Change comes gradually with the turning of the Wheel.

Magic can be done for fertility and creativity, healing and protection.
Tie a red ribbon around a birch tree to ward off negative energies. Hang birch twigs over a new baby’s cradle. Use birch bark as magical parchment to keep your writings safe.

Magical Correspondences:

Ogham Letter: Beth
Letter: B
Deities: The White Goddess, Belin, White Ladies of the Forest
Bird: Pheasant
Animal: White Cow
Herb: Fly Agaric Mushrooms — The Flowers of Annwn
Color: White

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