This past week has been a tough one on the household budget.  If money flows, then my household was at the top of a hill watching it flow down and away at an alarming rate.  When money is leaving faster than it's arriving, it can lead to some interesting reactions . . . such as a stronger urge to spend what you've got, to stock up for bad times.  Or to choke off the flow entirely and preserve what you've got, even though this will also likely stop the inward flow as well.

It's hard to save money when it feels like you don't have any.

On the other hand, it's a good week for this moneyworking Hellenist to continue saving anyway.  Last week found me saving on Noumenia, and today is the eighth day of the Hellenic month, sacred to my patron Poseidon, who is the financial securer.  I needed this reminder that money's flow cannot be stanched in one direction only, and that security should not be confused with stagnation.

You are a graceful goddess, our Earth:

poised on tiny feet, powerfully hipped,

you sing a song of becoming as you dance,

Money is a power that we have given disproportionate influence in our lives.  One of the ways that some people -- Pagans and others -- try to deal with that is through voluntary poverty, avoiding the stuff entirely, or as much as possible.  It's a choice that is controversial and poorly understood, and its impact isn't entirely clear.  As part of my money ministry, I'm trying to wrap my head around the many ways we can relate to it, including its rejection.

One thing that has become apparent to me is that there are limits on how much one can change through voluntary poverty or other money-avoidance schemes, such as simplicity and joining an intentional community which doesn't use it internally.  That limit is explained nicely by Lynne Twist in her book, The Soul of Money.  In the first chapter, Twist tells the tale of Chumpi Washikiat, a member of the Achuar people of the Amazon, who has been designated by his community to go out into the world and learn about money.  He moved into the author's home in the United States to do so.  Twist writes,

"His education about money was more on the level of inhaling.  Everywhere he went, the language and meaning of money filled the air, from billboards, advertisements, and commercials, to price cards on muffins at the local bakery.  In conversations with other students he learned about their hopes, dreams, and prospects for life after graduation, or as they put it, 'life in the real world' -- the money world.  He began to see how it is in America:  that virtually everything in our lives and every choice we make -- the food we eat, the clothes we wear, the houses we live in, the schools we attend, the word we do, the futures we dream, whether we marry or not, or have children or not, even matters of love -- everything is influenced by this thing called money."

I opened up my Facebook account today and was greeted by a long discussion focusing on cultural appropriation, vis-a-vis belly dancing. It appeared to be based on a Salon article titled "Why I can't stand white belly dancers."

The first thing that struck me was the confrontational nature of the headline: It wasn't belly dancing performed by white people that the author couldn't stand, it was the belly dancers themselves. If this doesn't put people on the defensive, I don't know what will. Then again, it's part of the inflammatory nature of online "journalism" these days, which uses hot-button language to increase the number of hits. (Full disclosure: I'm white, but I'm no belly dancer, and belly dancing isn't something I go out of my way to watch.)

The author of the article describes an instance in which "a white woman came out in Arab drag — because that’s what that is, when a person who’s not Arab wears genie pants and a bra and heavy eye makeup and Arabic jewelry, or jewelry that is meant to read as 'Arabic' because it’s metallic and shiny and has squiggles of some kind — and began to belly-dance."

Pre-dawn yoga. As we flowed from pose to pose, the teacher’s words emerged from the rhythm of her own movement:  “Since we were in the womb…the universe has never stopped… supporting us. That’s why…we are still…alive.”

I knew in my bones it was true. Looking at the moon, wandering the woods, touching the earth, I find that truth again. When I disappoint myself, I know the trees and the sky do not judge. Good or bad, I am held in the web of life and known by an awareness that goes beyond my own. 

The other truth I know is that “surrender rules the gods.” Not in the literal sense of compelling the deities, but in the sense of finding power within through ceding outward control. I think of Shiva lying down on the battlefield where his lover Kali raged, trusting that when she came to attack, she would recognize him and drop her weapons. I think of Odin, pierced by his own spear, hanging on the World Tree to gain the runes.

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.