The following practice was developed through my experimentation as a Yogi and meditator.  Most mature practitioners, I think, will identify with my experience of working in prescribed ways for many years until I had gained enough "life creds" to begin adapting the techniques to suit my own inner promptings.  Those who insist on slavish adherence to rock-ribbed, inflexible traditions may complain that our altering the old ways makes us apostates; but it seems to me that every famous spiritual teacher we can think of was exactly that sort of innovator.  If the great religious, philosophical and scientific lights of our civilization had ceaselessly followed the old paradigms without adding some breakthrough insights of their own, we wouldn't be honoring their names today!   

Another way of expressing this is, "Make it your own."  For example, in order to convincingly portray a character such as Hamlet, whose story everyone knows and whom thousands of great actors have played in the past, today's actor must "make it his own."  He must find the core truths about the part which resonate for him.  If he is successful, his fresh insight will stimulate thought in others and make it worthwhile for audiences to buy tickets. 

The same is true of any significant goal which we wish to achieve in our lives.  Until we make it our own, we'll just be photocopying what so many others have already done before us.  It's the difference between the beginner practicing scales and the maestro imbuing a concerto with soul.  I would like to offer you a little concerto of my devising, with the hope that it may inspire you to create your own unique variation. 

Creativity is my passion and the inspiration of the Nine Greek Muses has touched my life and those within it profoundly. This energy set the stage for my pursuit of a classical ballet career, ignited my love of music and stimulated my hunger for great literature. Heeding their call to inspiration has been the fertile ground from which the seeds of the efforts of my writing have blossomed and grown into a continual source of pride and joy in the sharing. With the coming of the Spring and the creativity of God and Goddess ready to reveal itself the call of the Muses is strong and clear in its intent to inspire; ready to awaken and weave their magick within all who answer.

This is the first of a series of articles about the Nine Greek Muses of inspiration and their impact on magickal and mundane practice. Their gifts of music, art and literature became the tools of expression that have continued to be the means through which humanity interacts, responds and finds resonance with our surroundings and others. And, my hope is that you will find the place of resonance within yourself as you embark on a journey of creative exploration with me. 

The Nine Muses were Greek Goddesses who ruled over the arts and sciences and offered inspiration in those subjects. They were the daughters of Zeus, Lord of all Gods, and the Titaness, Mnemosyne, who was the personification of memory. The Muses have appeared throughout history and the development of cultural and artistic ages in varying numbers and attributes. Homer refers to them as one Muse and as many Muses, living on Olympus. Plato lists eight muses connected with eight mythical spheres. And, the Greek poet, Hesiod whose epic poem The Theogony relates the Greek Cosmology and order of the Gods, refers to them as the nine daughters of Zeus and Mnemosyne, who were born in Pieria, which is described as watered by the springs flowing from Olympus.

This poetic essay originally appeared in Eternal Haunted Summer Magazine 2011

I.

 The restaurant — hole-in-the-wall with age-darkened brick wallpaper, old-lady peony-pink damask table cloths, the color my Chicago adopted grandmother used to like in homemade church blouses, eyelet white lace curtains festooned with paper ribbons in the ceiling, entwined with silk flower vines, glitter easter-eggs, feather butterflies in “old-lady chic” the guidebook calls it, ribbons hanging from the trophy animals, dusty green-red pheasant I can’t see his tail, two deer heads with gold mardi gras beads wrapped ’round dead necks and antlers, soft orange carrot salad a feast of hunter’s stew between potato pancakes plump meat chunks tucked in a surprise the old man with Andy Warhol hair arguing cheerfully with the middle-aged waiter reading a conservative fantasy novel, this food is better than your mother’s he says with a straight face, expecting the rejoinder as my husband checks out, tart herbaceous currant juice, the color of crushed berries — it tastes like secrets –

Uni is the supreme goddess of the Etruscan pantheon.  She is part of a ruling triad together with her husband, Tinia, and the goddess Menrva.  The Etruscans were distinct culture that occupied a region north of Rome.  They were most likely an aboriginal people conquered by a Near Eastern culture which was then influenced by Greek traders (as I understand it any way).  Originally they overshadowed their Roman neighbors who took on a lot of the Etruscan culture, especially religiously.   Eventually the Etruscans became subordinate to the Romans and essentially disappeared into the Roman Empire.

I spent a bit of time in my garden yesterday, and one emotion overwhelmed me more than any other: despair, and yearning.

Well, that’s a bit dramatic. But I’ve been doing a fair amount of thinking about the Wheel and how it relates to my practice, and the seasons too, and this season is definitely my least favourite. For me, the seasons are intrinsically connected to my practice, which is indeed earth-centred and intimately connected with the land. Working with, and not against, the land can be a challenge at times. Especially when the seasons turn harsh and the spiritual struggles that accompany, particularly the sense of ‘waiting’ can be the bane of the more impatient amongst us!

The 'supernatural' is often considered the sine qua non of religion. Certainly the Gods and Spirits must be considered supernatural, yes? Well…not necessarily.

As Pagans, we're more used to being discriminated against than to discriminating against others.  Those of us who run businesses or sell our wares are, especially in these economic times, generally only too happy to get a new customer.  And so we're usually quite happy to read Tarot, even for the devout Christian who slips off to see us behind her pastor's back, or to perform a computer upgrade even for the atheist who thinks that devotion to any deity is a sign of mental illness.  After all, we're pretty much a live-and-let live group.  We're not out to convert others to our ways and we generally don't presume to determine what religion is best for anyone else.  (Heck, I can think of a number of people whom I hope don't become Pagan.)  Honest pay for honest work or honest wares is generally all we ask. 

Our main concern with laws (such as the one that was recently vetoed in Arizona) that would allow businesses to discriminate based upon "religious convictions" has been the impact those laws could have on QLTBG, etc. people.  Of course, those laws could have been used to discriminate against even those of us who are "straight but not narrow," as well.  Wear a pentacle around your neck when you take your child to the farmers' market and the lady selling apples could refuse to sell your child an apple because her religion teaches her that you "shall not suffer a Witch to live," and selling apples helps you to live.  If the sleeve on your jacket slips, the nurse at the 24-hour medical center could see your tattoo and refuse to sew up the cut that you got doing woodwork because he says that your pentagram offends his religious sensibilities.  You finally grab a cab late at night in a sketchy part of town only to be told that the cab driver doesn't believe that women should be out, unescorted and won't give you a ride.  If you get mugged a few minutes later, well, that just proves his point.

It's easy to imagine that the next step is some method that will allow the discriminating religious to easily determine whether the potential renter, car buyer, or restaurant patron meets all of the necessary requirements.  (Why stop at refusing to sell a cake to a same-sex couple?  What about a couple that includes a previously-divorced person or a couple not willing to specify that they are entering a "covenant marriage" where the man will "exercise headship."  (Don't blame me; that's the way they talk!)  What about selling nursery furniture to prospective parents who won't agree that sparing the rod spoils the child or selling a house to people who won't commit to attending your church every Sunday?  To voting Rapeublican since they are generally more favorable to rightwing Christians?)

One of the great things about Mardi Gras (and there are MANY great things about Mardi Gras) is that the people here in NOLA who make Mardi Gras happen know that the festival has its roots in Classical Paganism. Just look at the names of our parades: Bacchus, Orpheus, Proteus, Muses, Cleopatra... we know that in Roman Catholic practice, where one must atone for sin at Lent, the best sin is Pagan debauchery. That's what Mardi Gras is all about.

This year there was some very special Pagan awesomeness. The shining example, which I'll begin with, was the night of parades held by the Krewe of Proteus, and the Krewe of Orpheus.

Sumer is icumen in, / Lhude sing cuccu! / Groweth sed and bloweth med / And springth the wude nu. / Sing cuccu!

The sun rises ever earlier, the days becoming longer. Soon the balance will tip, when the night gives way to the lengthening days. The spring equinox falls on March 20^th this year, and after a very wet winter I am very much looking forward to it.

Sirens have always been one of my favorite bits of mythology: seductive, half women, half birds who can lure people to their doom with the power of their song.

I think we’ve all run into our own version of the Sirens. Those people or things that we just can’t resist, usually to our own detriment.

As the “Muses of the Underworld”, the Sirens seem an appropriate symbol for New Orleans. In many ways, New Orleans is a Siren herself. She lures people in and doesn’t usually let them leave. The few who do leave seem to run away screaming, intrinsically knowing what they’ve escaped. A place that is steeped in death and underworld traffic, New Orleans sings sweetly to those who visit her. Some stay forever, others leave but to return over and over.

Thursday Night thru Saturday Afternoon

To avoid the hassle of driving busy Bay Area freeways during the day, and because I’m not an early riser, I drove down to San Jose late Thursday evening.  I anticipated that this would allow me a few more leisurely visits with other early arrivers, especially those from afar, before the Con got nuts.  I was right.

I had printed out schedules of the events I was most drawn to ahead of time, together with some hospitality suite schedules and meal dates made in the previous weeks.  Over the years I’ve relaxed my schedule by not applying to do a presentation of any kind, rather only sitting on panels now and then when asked, or performing a ritual role when invited to do so.  I try to get to the most appealing presentations, but some of them are too crowded.  I know that some of them I can see at other venues.  If I happen to get involved in a compelling discussion or a tête-à-tête and miss something I wanted to attend, I can follow where I’m drawn, or I can break away if I absolutely have to be somewhere.  This year I played it loose.

There's been a good deal of conversation online about the term "Wiccanate privilege" the past few days, and I think it illustrates the importance of choosing our words carefully when communicating important issues - especially those that others might find sensitive or take personally.

I have to admit the phrase rubbed me the wrong way to some degree. Whenever this happens, I ask myself why, and my attempt to answer that question usually starts with establishing definitions. When I looked up "Wiccanate" in Merriam-Webster's online dictionary, it told me, "The word you're looking for isn't in the dictionary" and advised me to try another spelling (the top three suggestions were "wagonette," "white and" and, disconcertingly, "witch hunt"). It came as no surprise when the word failed to show up, as it seemed like one of those terms coined for the sake of convenience or because nothing else quite seemed to fit.

Next, I looked around online and found references to it. Among the most helpful definitions was one I found at a blog called Finnchuill's Mast, which described it as "referring to practices either specifically Wiccan, or of traditions like Feri and Reclaiming that share many reasonably similar practices like circle casting and working with four elements." My first reaction is that the term could be seen as artificial and offensive (I know of at least one person who described it as such). What if someone were to label your tradition "Paganesque" or "Reconstructionistic"? You might not take too kindly to that. Shorthand and jargon can be convenient, but it also can come off as flippant, dismissive and/or exclusionary - the last because only certain people will know what it means.

Sorry I've been a bit remiss with my blogs. Crazy times, as with everyone. But I've decided to definitely continue on. I'm hoping to write somewhat shorter blogs, but with more frequency. So, here I go:

Since the season of Brazilian Carnaval is upon us, I thought I might spend the next few sessions discussing the history and meaning of this tradition. Wait, you say! Aren't you supposed to be blogging about Brazilian folk religions? Well, yes I am. And you really cannot separate the Carnaval celebration from the Afro-Brazilian religions. The music played, the rhythms, the instruments, the dances, the costumes, and more all cross over into the Brazilian religions. So bear with me while I talk about the history, what Carnaval is like today, the Samba Schools. and the story of the parades. After that, I'll talk about various instruments and their functions both in the celebration of Carnaval and in the religion. Besides, this stuff is interesting and will give you a more in-depth picture of Brazil and Brazilians (at least I hope it will).

History of Brazilian Carnaval

Recently, I received a message about health and healing. The questions centered on healing from physical injury, support during surgery, and common practices in ancient Hellas in these types of situations both of the injured and their families. Seeing as most of us will most likely wat to request the healing aid of the Gods at one point in our lives, I though I would make a blog post out of it.

In ancient Hellas, people got sick just like we get sick now. With the poorer hygiene conditions and often heavy physical labor that was undertaken, epidemics one one illness or another must have been quite common, and accidents were prone to happen. As such, there were quite a number of deities who were especially prone to help humanity recover from diseases and injuries.

When we discuss health and healing, we must first look at the worship of Asklēpiós. Asklēpiós was, and is, a much beloved Theos. He started out being honored as a hero--the son of Apollon and Koronis--but became a God in His own right because of his healing skill. It seems Asklēpiós was such a fine healer, He could even bring the dead back to life, even though He is no longer permitted to do that. Apollon presides over the healing proccess as well--in general with the Hellenic deities, younger generations preside over the building blocks of the previous generation, so while Apollon has 'healing' in His portfolio, much of the actual healing is done by his younger son, and specific subsets of healing are distributed amongst Asklēpiós' daughters.

It seems somehow appropriate that Isis is my Goddess for the week....

The Common Sense Spell Book

By Debbie Dawson

At Pantheacon I attended a discussion about Wiccanate Privilege (See this post by Lupus for an accurate overview of the discussion). I was curious about this term because it had been applied to me in a post that Ivo Dominguez had written about the Literacy of Magic. The person who applied it, Ruadhan McElroy commented on a comment I made about how I felt the Pagan community was divorcing itself from Magic in order to achieve mainstream acceptance. He made the point that such a statement displayed a level of privilege and assumption about magic's place in a given Pagan spiritual practice. Another commenter also pointed this out in a different way and in subsequent comments I came to better understand the perspective of magic as an optional practice because its simply not central to the given spiritual practices of a particular spiritual tradition.  I'll admit that when I think of Paganism, I typically associate magic with Paganism and with anything that might fall under the rather broad umbrella of Paganism (which as I'll discuss later points to a distinct problem). I think that Ruadhan made an accurate point, though at the time it blew my mind that the practice of Magic could be perceived as a form of privilege (mainly because my own experiences in mainstream culture, but in this case Ruadahan is referring to the Pagan subculture, and in that context it makes sense).

The conversation that occurred at Pantheacon helped me further understand this aspect of privilege, and where Ruadhan is coming from. Ruadhan also wrote a post about Wiccanate Privilege and noted the following:

Within the pagan community, the “Generic Popular Wicca-based Neopaganism” (henceforth “Wiccanate paganism”; Traditional Wicca, such as BT/Gardnerian or Alexandrian, is “Wicca”) is the assumed default. During the “pagan identity crisis” that’s been cycling the pagan blogosphere every few months since 2010, I’ve seen several people comment not only as non-Wiccanates who lament this, but as Wiccanate pagans unaware of their own privilege and insisting that we’re all united because, as far as they’re concerned, “we all share a history with Wicca” (an exact quote I’ve seen from several people).

...

Here's another awesome question from my friend Karen, this time, about Enhydro crystals. She asks:

Enhydros (sp?) Crystal? Have you come across any of these? Can you share more of what they do? I have learned they balance the Divine Masculine/Feminine. Is this correct? Thanks!

Oh, I LOVE LOVE LOVE Enhydro crystals. For those that don't know, they are crystals with water (fluid) inside them. The only way to know if you have an Enhydro (if there is water or fluid present) is if they have something IN the water (usually an air bubble, sometimes sediment of some kind, but most usually air)... or if the fluid is colored as in the photo to the left. Most Enhydro crystals present as clear crystals with clear water, so to see them you turn the crystal and the air bubble (or sediment) moves. If it is sediment it will move down because it is heavier than the water, and if an air bubble, it will move up because it is lighter than the water (imagine the bubble in a carpenter's level). In the photo above, the fluid in the cavity is golden colored. It is very striking to see such a crystal because you are able to easily see where the fluid is. As in the photograph below, in a clear crystal with clear water, you are only able to "see" the water when the bubble moves.

Žemė, “Earth.” Pendant: amber (with vegetal inclusions), 2¾' x 1¾'. George Romulis, 2012

George Romulis, at 93, has been working amber for more than 70 years. He is an emeritus member of the Riga Amber-Workers Guild and one of the living treasures of Latvia.

This stunning pendant, titled Žemė, “Earth”, fits neatly into the palm of the hand, but its clean lines and boldness of form give it a striking monumentality; it feels larger than it actually is. It is also profoundly female. We all know these lines; we've seen them many times before: in the bodies of the women around us, as in what our coven kid Robin used to call the “clay ladies” of ancient Europe and the Middle East, here elegantly stylized but readily recognizable nonetheless.