Review: Tales Of Power – Michael Berman

Tales Of Power – Michael Berman
ISBN: 978-1-907614-05-7. Price: 10.95

Available from http://www.merciangathering.com/learbooks/index.htm

Cover of the book Tales of Power

Like the shaman, the storyteller is a walker between the worlds, a mediator between our known world and that of the unknown someone who is able to commune with dragons and elves, with faeries and angels, with magical and mythical beasts, with Gods and Goddesses, heroes and demons, someone who is able to pass freely from this world into those above and those below and to help us to experience those other realms for ourselves. He or she is an intensely powerful invoker of elemental powers, of the powers of absolute transformation, who can show us how to confront our most deeply-engrained fears, or teach us how to experience ecstasy or bring us face to face with death or terror of the spirit – with the infinite and incomprehensible. He is not only the archetypal magician but also the archetypal guide. In Tales of Power, Michael Berman examines the role of the storyteller in shamanic tradition, and presents a collection of traditional stories.

Michael Berman works as a teacher and a writer. Publications include ‘The Power of Metaphor for Crown House’, ‘The Nature of Shamanism and the Shamanic Story’ for Cambridge Scholars Publishing, ‘Shamanic Journeys through the Caucasus’ for O-Books, and ‘Journeys Outside Time’ for Pendraig Publishing. Spring 2011 will see the publication of ‘Tales of Power’ for Lear Books and ‘Shamanic Journeys, Shamanic Stories’ for O-Books. ELT titles include ‘A Multiple Intelligences Road to an ELT Classroom’, ‘In a Faraway Land’ (a resource book for teachers on storytelling), ‘On Business and for Pleasure’ (a self-study workbook) and ‘ELT Matters’ (written with Mojca Belak and Wayne Rimmer). For more information please visit www.Thestoryteller.org.uk

 

 

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Music Review: ‘The Beauty and the Sea’ Mor Karbasi

‘The Beauty and the Sea’ – Mor Karbasi

Cover of the album The beauty and the sea by Mor Karbasi

See also:

Biography

“Dramatic Diva with a Haunting Voice and Stunning Stage Presence”

“Diva with gorgeous, exceptional voice and looks to match, breathes new life into ancient language. Singer Mor Karbasi was born April 23, 1986 in Jerusalem. Her mother was born in Nazareth of Moroccan descent and her father in Jerusalem of Persian (Iranian) ancestry. Mor is a young woman whose music is influenced by several cultures, though mainly by her Jewish heritage. A child with parents like hers no doubt carries a great deal of cultural baggage. As already mentioned, with Jewish influences, but also Persian, Moroccan, Spanish and of course Israeli. All of which is discernable in her outward appearance, but also in her lovely, effervescent music and many stories. Mor’s biography might very well read like a novel by Isabel Allende where history, magic, joy and hard reality are all interwoven…” (from her My Space page)

This is what Robin Denselow wrote in the Guardian 25 April 2008:

This album establishes the London-based Israeli singer Mor Karbasi as one of the great young divas of the global music scene, alongside the likes of Mariza or Yasmin Levy. Like Levy, she is an exponent of Ladino music, and the songs that survive from the late 15th century, when the Jewish and Muslim communities in Spain were expelled by the Christians. But Karbasi has her own, highly individual approach to the music, and she sounds as dramatic as she looks, switching effortlessly from songs that mix flamenco and North African influences, such as the opening track, Roza, through to old Ladino songs. Her voice is remarkable, mixing delicacy, power and control as she moves between rousing, harsh-edged songs and the spine-tingling subtlety of a quieter piece such as Nuestros Amores. Like many of the best new songs here, it was written by Karbasi herself, along with her impressive co-producer Joe Taylor, who also plays anything from guitar and bass to harmonium. This is surely one of the albums of the year.

Indeed.. I only discovered this CD in 2011 and was immediately ‘sold’.

The album consists of 13 numbers beginning with Roza. A flamenco guitar introduces Mor Karbasi, whose voice is a real joy. My favourite track is La Pluma… the Feather.

On my doorstep you appeared, like a passenger
On my bed you left one white feather,
Of a free bird that you found on your journey
And now it’s in your cage
Fly feather of my heart,
White pure, like my love
Fly on and look for my beloved
Ask him to return to me , to my arms

All the lyrics are included in the album notes, plus the stories behind the songs.

Go and check out the various you tube clips … this one for example:  http://www.youtube.com/watch?v=s-5yC_XbHV8
Mor Karbasi – La galana i la mar
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Mystery Religions: The What And Why

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Being a regular poster on a forum I am quite often exposed to interesting and sometimes touchy discussions centring around people’s personal beliefs and around specific traditions. One of these recent discussions was on the subject of Mystery Religions, their purpose and what the definition of ‘mysteries’ is. The question was also raised as to whether a solitary practitioner could gain access to the mysteries. These are questions I will endeavour to answer here.

So, what are these ‘mysteries’ and how can we define them?

The Oxford English Dictionary gives us this definition of ‘mysteries’

“…something that is difficult or impossible to understand or explain…”

In the context of a Mystery Religion the mysteries are the hidden knowledge and revelations pertaining to the divine and our place within the universe. These are usually accessed by an individual via a specific set of rites and rituals within a tradition or path that ‘opens the doors’ so to speak, to these mysteries. Each tradition has their own unique ‘toolkit’ (rites, rituals, symbols and practices) for unlocking these doors and allowing the individuals within that tradition the necessary set of experiences and knowledge to access and gain an understanding of the mysteries.

That sounds quite dogmatic. How does that make Mystery Religions any different to, for example, the Catholic Church?

The definition of mysteries and Mystery Religions isn’t really at all similar to anything within the Catholic Church or that type of religion. Why? Because they are what is known as ‘revealed religion’ – that is religion whereby the whole thing is supposed to have been revealed by a god or gods (sacred books and the whole shebang). These religions and their practices are freely available and open to anyone who cares to pick up a copy of their sacred text and feels that it is for them. Quite often with this style of religion, whilst the individual can pray or talk to their god(s), there is usually a member of the clergy who acts as an intermediary between the divine and the individual.

Mystery religions are the exact opposite to revealed religions. They generally don’t have a set sacred text or a set of laws or tenets or in fact any dogma that must be followed and that has been supposedly handed to them by a god or gods. Each tradition allows the individual access to the mysteries via their specific set of doors that each member must pass through in order to access them and the toolkit (rites and rituals) for doing that are different for each tradition. In addition, there is no single intermediary who acts as the mouthpiece of the divine. Each person has direct access and communes with their god or gods as feels best to them.

Wicca is a religion of mysteries and when one is initiated it is not only into to the coven, but also into the mysteries. Does this mean that you have to be in a coven to know the mysteries?

There are numerous Mystery Religions and Traditions and each one has its own ‘toolkit’ and way of perceiving the mysteries. This means that you have to be initiated into that tradition or religion in order to gain access to the mysteries of that tradition and indeed that particular group.

My experience as an initiate of a Mystery Religion is that the individuals within the tradition seem to have a similar set of experiences in terms of contact with the divine or the unseen worlds that we work with and within. It was and is the common practice of my parent coven to either not share at all or to give only very vague details of experiences to newcomers and in this way the potential experiences of that newcomer were not coloured by the experiences of the rest of the group. It was always amazing to see just how many similarities would crop up once that newcomer began to have their own experiences. This leads me to think that the particular ‘toolkit’ of the tradition is absolutely key to accessing the mysteries relating to that tradition and giving each individual similar experiences that binds the group together and gives them shared understanding and knowledge.

It is said that the mysteries cannot be told, only experienced. So why can’t a solitary have those same experiences?

I do think that a solitary can have knowledge and understanding of the ‘mysteries’ (what is known as personal gnosis), but to have knowledge of the mysteries attached to a particular tradition, one must be a member of that tradition, usually via initiation or a similar ritual. These specific mysteries are experiential and cannot be accessed by people who are not members of those traditions because they do not have access to the ‘toolkit’ belonging to that tradition or religion that allows its members to experience the mysteries particular to it.

This is a system that dates back thousands of years to religions such as the Elusinian Mysteries of Greece and the Mithraic Mysteries or Mysteria Mater.

The mysteries are experiential and they are specific and individual to each tradition. My experiences of the mysteries through my tradition will be different to those of someone from a different tradition or of a solitary path though of course there may well be similarities and common ground between them.

I am fairly certain that a solitary witch, for example, would reach their own understandings and have their own revelations from their experiences just as well as a person following a Mystery Religion would. They may reach understanding in a different way and see things differently because of that, but that doesn’t mean they aren’t allowed to reach that understanding, or that they can’t or won’t reach it because they aren’t a member of a group.

Why are the mysteries hidden? Why are they only revealed to some people and not open to everyone?

There’s no reason they are. They just are. People have always searched for deeper meanings to life and the divine through millennia and this is just one of the ways that people try and reach that understanding. There is a huge amount we don’t know about this world and the worlds around ours, the astral and the places where the gods reside and so on. They aren’t hidden for a purpose and no one hid any of this knowledge for their own gain but it is impossible to know everything about all things and perhaps not everything should be revealed to all people all of the time.

People who follow Mystery Traditions do so because they feel that there is more to life than what is in front of our noses and they feel that the particular tradition they follow is the best one for them to access those deeper meanings and mysteries. Other people feel that revealed religion is right for them. It’s not about keeping things away from other people but about finding the right way for you to gain that knowledge and understanding and that is why the mysteries are experiential. They can’t be explained – you have to find out for yourself.

Of course it may seem as those these mysteries are only revealed to a select few and I’m sure that some people see that as a little bit elitist, which of course it is in many ways. The mysteries are revealed to those people who have a thirst for that kind of knowledge, just as the mysteries of science are revealed to scientists who look for particular things and make new discoveries. So, it is absolutely true to say that the mysteries are not revealed to everyone because not everyone looks for them or wants to know. The people that do want to know go and seek out a way that suits them; sometimes that is alone and sometimes that is as part of an established group or religion.

How did the founders of these traditions find those specific doors and tools to access these mysteries?

It would be hard to categorically state how the founder of any of the Mystery Traditions, ancient and modern, came to find their particular way. That said, I think we could guess based on historical accounts and so on that they either came to it via experimentation of their own or perhaps because they were part of a similar (pre-existing) tradition prior to forming their own. Don’t forget that many of the people who formed some of these Mystery Traditions (thinking of the more modern ones here) were intelligent people who had already spent a lot of time in research and practice of various occult and magical paths before hitting upon a combination that worked for them and setting that combination down to form their particular Mystery Tradition.

If it was written down, doesn’t that make it set of laws, dogma and rules?

Writing something down obviously does not make it dogma, law or a rule. As an example: Initiatory Wicca has the Book of Shadows that is handed from initiator to initiate; but this is not akin to the Bible, the Qur’an or similar sacred text, which are supposed to be the word of God. The Book of Shadows is essentially a guide, giving the basic rituals and rites, spells and magical workings that have been used within that tradition. This Book of Shadows will certainly vary from tradition to tradition (the Gardnerian Book of Shadows will be different from Alexandrian etc.) and may even have some variation in the various lines within that tradition but there will still be the same basic structure. This means that each Wiccan from that tradition will share the same basic experiences and have the same basic toolkit for accessing the mysteries. However, the Book of Shadows is not a laid-down-in-stone, word of God, must-be-abided-by rulebook. It gives the basics, nothing more. It is a part of the toolkit but the rest is gained from the group, not from the book.

Given that some of these rites and rituals are available to the public, wouldn’t someone who read and enacted those rituals experience the mysteries of that tradition and be able call themselves an initiate?

You don’t become an initiate of a Mystery Tradition just because you happen to get your hands on a copy of their rituals. The written portion of the ritual is a very tiny part of the experience. The rest is handed to the initiate verbally and experientially. So, even if you did get a copy of the ritual and enact it with a group of friends (because you wouldn’t be able to do these rituals alone unless you developed several sets of arms and multiple personality disorder!) there would be symbols and language within that ritual that you would not understand unless it was explained to you and you would be missing the experiential and verbal teaching aspect, which is actually the biggest part. You might be lucky and stumble onto a small part of what an initiate of that tradition experiences but without the whole of the teaching and experience, you wouldn’t find the right doors and experience the same mysteries that an initiate of that tradition would experience and understand.
Quite simply, the only way to experience the mysteries relating to a particular tradition is to become a member of that tradition.

So as a solitary, how would you go about approaching the mysteries? Using the definition from the beginning of this article, how would you go about finding out about our relationship to the divine and our place within the universe?

Well, there are several ways of doing this, such as:

– Finding out about the folklore and mythology in your locality. Are there any local gods for example?

– Getting out and about in the local natural environment, whether that be woods, seashore, fields or the wild and windy moors. Get a feel for the place, it’s energy and peculiarities.

– Meditation and path working: focusing the mind and travelling into those unseen worlds to make contact with elementals, spirits and divine energy and learning what they have to teach you.

– Creating an altar space. Really thinking about what you put on that altar and why. Does it reflect a relationship you have with a particular god or goddess or is it more about your surroundings and the seasons? Maybe both?

– Creating rituals. These are personal to you and you will probably put a lot of thought into what you want to achieve and how you want to achieve it. Is it a ritual to honour a deity or to celebrate the start of Spring?

– Music, dance and poetry. These are good ways of focusing on a particular thing and can help to create a magical atmosphere or even induce an altered state of mind in which experiences can be gained.

So, going back to the dictionary definition of ‘mysteries’, we can summarise that they cannot be explained or written down in a book for all to read. They must be experienced and how those experiences are arrived at is for the individual to decide.

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De Runxput, Heiloo

Wat je van ver haalt is lekker, ook als het spiritualiteit betreft, en zeker ook in paganistenland. Heb het over heilige plaatsen en het gaat al snel over Stonehenge, Glastonbury of Avebury. Nou staan die zeker ook nog op mijn lijstje, en ben ik heel blij dat ik op Tara gestaan heb en in New Grange geweest ben.

Maar ik ben opgegroeid bij grafheuvels en in een dorp verderop stond in de kerk het restant van een eik waar Maria ergens in de 15e eeuw of zo in verschenen was. In mijn studententijd wandelde ik langs de koortsboom bij de Hatertse vennen en toen ik logeerde in het huis van mijn schoonmoeder fietsten we naar de hunnebedden.
Als het gaat om voorchristelijke spiritualiteit heeft Nederland genoeg te bieden. Misschien niet allemaal zo imposant als in het buitenland, maar het bijzondere is niet altijd te zien aan de buitenkant.

Toen ik een jaar of tien geleden een cursus sjamanisme deed, hoorde ik van een medecursist over een belangrijke krachtplaats. Volgens hem was het een van de sterkste van Europa en – dat was het vreemde – nauwelijks bekend. Het ging om het putje van Heiloo, ofwel de Runxput. Mijn belangstelling was gewekt, maar het duurde nog een paar jaar voor ik daadwerkelijk bij de put kwam.

De Runxput is een Mariabedevaartsplaats. Hoe oud de put precies is, is onbekend. De herkomst van de naam Runxput ook. Er zijn een aantal legenden verbonden aan de put, maar die zijn allemaal later toegevoegd, om de put meer luister te geven. Begin twintigste eeuw wilde de katholieke kerk van de put een Nederlandse concurrentie van Lourdes maken, en dat kan nou eenmaal niet zonder Mariaverschijningen.
Gelukkig is het bedevaarsoord nooit grootschalig geworden, hoewel het de laatste tijd weer drukker is, en de kerk er ook meer werk en onderhoud in steekt. Helaas, maar ondanks dat blijft het een heel bijzondere plek.

De naam Heiloo betekent heilig woud, en van oorsprong was hier een heilig bos van de Germanen. Er zijn in de buurt ook paalcirkels gevonden. Dat hier ergens een krachtplek is, wordt dus ondersteund door de archeologie. En een krachtplek is het.
Je kunt de plek al voelen als je aan komt rijden. Een krachtige, maar heel helende, vrouwelijke energie die geen moeite heeft met de christelijke laag die eroverheen gelegd is. Op het terrein zelf is een kruisweg aangelegd (voor de mensen zonder katholiek achtergrond, een kruisweg is te vinden in elke katholieke kerk, langs de muren zijn kleine schilderijen met daarop afbeeldingen van de lijdensweg van Christus van de gevangenis naar Golgotha. Het zijn afbeeldingen van veertien vaste momenten, statieën geheten, waar mensen langs kunnen lopen om bij elke statie te bidden. )
Als je er loopt en je afstemt op de energie voel je de katholieke devotie. Mij geeft de katholieke energie een gevoel van ‘goed bedoeld, niet kloppend maar vanwege de intentie niet storend.’

De kracht van de plek heeft er duidelijk geen moeite mee om op deze manier geëerd te worden. En dat wordt zeker duidelijk als je de kerk die bij de put gebouwd is binnengaat. Een mooie Mariakapel waar de kracht van de plek zich sterk manifesteert. Je kunt er kaarsjes kopen om te branden. Ik vind het fijn om een kaars te offeren.

En dan is er natuurlijk de put zelf. Er zijn allerlei legenden over hoe oud die wel niet is, maar verder terug dan de 18e eeuw is niets te bewijzen. Is dat belangrijk? Wel voor mensen die ouderdom als legitimatie voor echtheid zien.
Voor mij is het bijzondere dat de plek er is, dat de kracht er is, en zich op deze manier wil manifesteren en mensen wil blijven helpen. Je kunt water putten om mee te nemen. Het is duinwater, maar qua energie absoluut niet te vergelijken met wat er uit de kraan komt. Het is bezield water. Van een bezielde, heel bijzondere plek.

Wie degene ook was die er in het Heilig Bos bij Heiloo vereerd werd, en of het dezelfde is als degene die zich nu manifesteert in het katholieke heiligdom, voor mij is het putje van Heiloo een plek waar de zichtbare en de onzichtbare wereld elkaar kunnen ontmoeten.
Het is een plek die bewijst dat er krachten zijn die niet-menselijk zijn, natuurkrachten, grote krachten die ons mensen goed gezind kunnen zijn. Die ons willen helpen en bijstaan in moeilijke tijden. Heil aan de vrouwe van Heiloo, onder welke namen zij ook vereerd wil worden.

http://www.ijpelaan.nl/Archief/Kennemerland/Plaats-Heiloo-Runxputte.html
http://nl.wikipedia.org/wiki/Heiloo

Dit artikel is eerder gepubliceerd op de website van Praktijk Hagetessa, http://energiewerk.aanhet.net/diverseonderwerpen/spiritualiteit-diverseonderwerpen/de-runxput-heiloo/ . Hagetessa heeft aangeboden artikelen voor ons te gaan schrijven en we willen dit artikel graag overnemen als kennismaking met haar, omdat het onderwerp goed aansluit bij Wiccan Rede.

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Beltane, het feest van de samenkomst van alle tegenstellingen

Logo rubriek Wiccan Rede Online Magazine
Ik moet toegeven dat ik wel een beetje zenuwachtig was toen ik aanbelde bij het Gemeenschapshuis waar ik had afgesproken met de bisschop.

Hij en ik waren samen gevraagd om het huwelijk in te zegenen van twee mannen, waarvan eentje oudkatholiek priester was en de ander een heks.

Het stel zelf had al met de bisschop apart en met mij apart gesproken en iedereen vond het een reuze leuk plan om een volkomen gemengde huwelijksplechtigheid te houden. De fasen van de klassieke rituelen – reinigen, verbinden met elkaar, focussen via een verhaal, zang, kaarslicht – komen ook eigenlijk prachtig met elkaar overeen, zagen we tijdens het vergelijken van de twee traditionelere ceremonies. Daardoor bleek het helemaal geen punt te zijn om ‘om en om’ een stukje hekserij en een stukje oudkatholiek ritueel te doen.

Toch zette ik me schrap toen de bisschop maar meteen van wal stak met een aarzelend: “Even over dat eh… springen over een bezem he…” Pijlsnel bedacht ik vast wat argumenten om hem ervan te overtuigen dat dat echt niet geschrapt kon worden. De twee mannen waar het om ging keken hem afwachtend aan.

“Ik dacht: zou het een bezwaar zijn als ze ook over mijn staf springen?”

Iedereen lachte. “Na elkaar? Gelijke hoogte, of steeds wat hoger?” Of nee, een heel parcours uitzetten waar ze overheen zouden moeten springen! En dan tot slot over het altaar heen! De stemming zat er dus uitstekend in. We besloten dat ik de bezem naar de bisschop zou aanreiken en hij de staf naar mij en dat we dan beiden in dezelfde hand die twee staven – ook zo passend voor een herenhuwelijk – klaar zouden houden voor de sprong van toen naar straks.

“Leuk!” zei de bisschop. “Ik heb ook al eens met een imam een dienst gedaan, maar toen kon ik helemaal niet verstaan wat hij zei. Jammer, want het klinkt allemaal zo mooi. En toen ik eens een dienst deed bij een islamitische begrafenis viel het me op dat de christenen allemaal maar zo’n beetje in de lucht staarden, terwijl de moslims een veel respectvollere houding hadden tijdens de dienst. Zij baden zelfs mee, met hun eigen gebeden, terwijl veel christenen maar wat prevelden. Oh, en die andere keer… Dat was een huwelijksinzegening en een doop tegelijk van boeddhisten. Ook heel mooi. Met bloemen en fruit… En jij? Werk jij veel samen met anderen?”

Het schaamrood steeg me naar de kaken. “Eh… er zijn binnen de hekserij eigenlijk wat verschillende stromingen,” hakkelde ik een beetje binnensmonds. Maar de oplettende bisschop had me wel degelijk gehoord. En begrepen.

“NEE!” riep hij uit. “Wil je zeggen dat er daar ook van die bekvechterij is over wie er gelijk heeft en wie de juiste leer verkondigt?”

“Zoiets ja,” zuchtte ik. “Je hebt natuurlijk Gardnerians en Alexandrians. En dan heb je de Erfheksen en de Mysteriescholen, de Dianics en eigenlijk horen de Asatru, de Druïden en de Sjamanen er toch ook wel bij, als heidenen. En de club waar ik me zelf het meest thuis bij voel: Reclaiming.”

“Gunst,” zei de bisschop hoofdschuddend. “Precies zoals binnen het christendom dus.” Ai. Dat kwam hard aan.

“En werken die onderling dan wel samen?” Ik schudde mijn hoofd en keek om me heen. Hier zat ik in een oudkatholiek Gemeenschapshuis, waar iedereen welkom was. Zelfs heksen. Er werd nog mee samengewerkt ook. En wij, van al die verschillende stromingen die allemaal gebaseerd zijn op alles wat leeft en bezield is en een eenheid vormt met elkaar in de natuur van mens, dier, plant, rivier, berg en vuur, wij kunnen nog niet eens digitale Gemeenschapshuizen in stand houden zonder elkaar met bezems, bokalen en pentagrammen de hersens in te slaan. En dat terwijl het juist zo inspirerend is om de cirkel te trekken met heksen uit verschillende richtingen. Zoals de windrichtingen verschillend zijn, vullen ook al die stromingen elkaar juist reuze mooi aan. Met dank aan de godin en een aantal van Haar Nijvere Helpers heb ik het een paar keer meegemaakt en koester nog steeds die ervaringen en hoop op meer daarvan. Een enkele opgetrokken wenkbrauw over een andere tekst, een vreemd gebaar, een onverwachte rituele wending is helemaal geen ramp. Je bent toch samen in de cirkel en samen wandel je gemakkelijker de Godin tegemoet dan in je eentje.

“Het maakt mij eigenlijk helemaal niet uit hoe mensen het goddelijke ervaren,” besloot de bisschop. “Als ze het maar herkennen in elkaar. Zo moeilijk kan dat toch niet zijn? We zijn allemaal begonnen met een goddelijke vonk.”

Okee, de christenen hebben heel wat heidense rituelen geannexeerd van ons. Maar misschien kunnen we ook nog wel het een en ander van hen leren. Misschien moet ik de bisschop maar eens uitnodigen voor een inspirerende workshop over wederzijds respect en samenwerking en zo. Kom jij ook?

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Review: Witch & Wizard

James Patterson (with Gabrielle Charbonnet) : Witch & Wizard
Young Arrow, 2010, 314 p. ISBN 978-0-099-54374-9. € 9,95 (£ 5.99).

http://www.jamespatterson.com/books_witchAndWizard.php

Cover of the book Witch and Wizard

The cover text reminded me of Mercedes Lackey’s short story Wet Wings, but the book also brings to mind what George Orwell wrote about Big Brother. The world, taken over by the New Order, has turned into a nightmare, where there’s no place for art, for nonconformists or for most teenagers. Chewing bubblegum on the street is a crime, and so are witchcraft and wizardry, of which Whit and Wisty Allgood are accused. They are taken away from their parents and put in prison where executions awaits them once they turn 18. To their astonishment, it appears that they do have magical powers. And the adventure starts, through prison and ‘mental hospital’, through other levels of reality, into a place where young people try to save the world as they knew it. To be continued in part 2, The Gift (with Ned Rust).

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Recensie: Het heksenhotel

Anna van Praag : Het heksenhotel
Leopold, 2008, 150 p. Hardcover, ISBN 978-90-258-5166-8

http://www.annavanpraag.nl/?s=heksenhotel

Voorkant van het boek Het heksenhotel

Laura van twaalf komt met haar vader en zusje terecht in een hotel in Ierland, waar de gasten dansen bij volle maan en de seizoenen vieren. Het zijn heksen. De hotelhoudster is hogepriesteres en heeft boeken over wicca in de kast staan. Laura leert dat hekserij een geloof is, dat heksen geloven in de Maangodin. Maar daar ongeveer houdt de gelijkenis met wicca op. Zusje Elvie is te klein voor een inwijding, maar Laura blijkbaar niet, en heel veel keuze heeft ze er eigenlijk niet in. Ze krijgt ook te horen dat ze niet meer kan weggaan, want: eens een heks, altijd een heks. Dit boek gaat niet over wicca, ook al heet het hotel het ‘Coven Hotel’, maar over een sekte met een charismatische leidster. Voor iemand die niets met wicca heeft, is het waarschijnlijk gewoon een spannend jeugdboek. Maar waarom de schrijfster geboycot wordt door mensen die menen dat ze wicca promoot, snap ik niet. Als je denkt dat wicca in dit boek naar waarheid wordt beschreven, ren je snel weg als je ermee in aanraking komt!

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Recensie: Nehalennia Suite

Nehalennia Suite – Ode aan de Zeeuwse Godin / Ode to the Zeeland Goddess
Jules Bitter
FP Productions, 2005.
www.fluitpraxis.com

Voorkant van het album Nehalennia Suite van Jules Bitter

Op zoek naar (bijvoorbeeld) een gedicht over Nehalennia, bladerend in het boek van Gardenstone (Nehalennia, godin van de zeekust), kwam ik een verwijzing tegen naar de cd van Jules Bitter die ik eerder niet heb gevolgd. Ten onrechte: de demotracks op de website smaakten naar meer en ik heb de cd besteld en had die (desgevraagd) heel snel in huis. De nummers op de cd beschrijven de omgeving waarin Nehalennia vereerd werd en de mensen door wie dat gebeurde. De laatste drie nummers geven muziek aan een reis: Het vertrek; De zeereis; en De thuiskomst.
Prachtige fluitmuziek, op een mooi uitgegeven cd met boekje met veel informatie over Nehalennia. Het geheel maakt mij erg nieuwsgierig naar het andere werk van Jules Bitter.

For our non-Dutch speaking readers: check the website .
The booklet containing quite some information about the Goddess Nehalennia is in Dutch AND English.

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Death the Partner that waits for all of us

Logo rubriek 'Gedachten' in Wiccan Rede Online Magazine
In an age when keeping death at bay seems to have become an obsession for many of us, judging by the array of anti-ageing products and treatment now available on the market, a story about someone who chooses to embrace it comes as something of a surprise. Yet there are those for whom it may well appear to be the most attractive option:

Death the Sweetheart

There was once a pretty young girl with no husband, no father, no mother, and no brothers. In fact, no family at all: they were all dead and gone. She lived alone in a hut at the end of the village; and no one came near her, and she never went near anyone either. She kept herself to herself. One evening a goodly wanderer came to her, opened the door, and cried: ‘I’m a wanderer, and I’ve travelled far in this world. Here will I rest; I can no further go.’ The maiden said: ‘Stay here then. I will give you a mattress to sleep on, and, if you like, something to eat and drink too.’ The goodly wanderer soon lay down and said: ‘Now once again I sleep; it’s so long since I slept last.’ ‘How long?’ asked the girl; and he answered: ‘Dear maid, I sleep but one week in a thousand years.’ The girl laughed and said: ‘You’re joking, surely?’ But the wanderer was already fast asleep and did not answer.

Early next morning he arose and this is what he said to her. ‘You’re a pretty young girl and, if it pleases you, I’ll stay here a whole week longer.’ She gladly agreed, for already she loved the goodly wanderer. So once they were sleeping, and she roused him and said: ‘Dear man, I dreamt such an evil dream. I dreamt you’d grown cold and white, and we drove in a beautiful carriage, drawn by six white birds. You blew on a mighty horn; then dead folk came up and went with us – you were their king.’ Then answered the goodly wanderer: ‘That was an evil dream.’ Straightway he got up and said: ‘Beloved, I must go, for not a soul has died this long while in the whole world. I must be off, let me go.’ But the girl wept. ‘Don’t go away; stay with me.’ ‘I must go,’ he answered, ‘God keep you.’ But, as he gave her his hand, she said sobbing: ‘Tell me, dear man, who are you then?’ ‘Who knows that, dies,’ said the wanderer, ‘so you ask in vain; I don’t dare tell you who I am.’ Then the girl wept and said: ‘I don’t care what happens to me and I’m prepared for anything, only do tell me who you are, please. Do me this one last favour.’ ‘Good,’ said the man,’ ’then you come with me because I’m Death.’ And nobody ever saw or heard of her again.

Adapted from a Transylvanian-Roma story in Groome, F.H. (1899) Gypsy Folk Tales, London : Hurst & Blackett. Scanned, proofed and formatted at sacred-texts.com, December 2005, by John Bruno Hare. This text is in the public domain in the United States because it was published prior to 1923, and in the EU and other ‘death+70’ countries because the author died in 1902.

Also known as ‘Gypsies’, the Roma are nomads who originated in India during the middle ages, and spread across a wide section of Eurasia, preserving a unique culture and language. The term Gypsy was applied to the Roma by outsiders, possibly in the mistaken belief that they were Egyptian in origin. Some people today take it to be pejorative, and at the very least its use is deprecated. Nevertheless, it is used widely in the literature, particularly in books now in the public domain, by scholars who cannot be construed as using it in a derogative sense.

It is interesting to compare and contrast the Roma story with the lyrics of the traditional English folksong entitled ‘Death and the Lady’, a version of which is presented below. For even though the lady in the song puts up a fight instead of succumbing willingly, her fate remains the same, as it does of course for all of us. The song was collected in 1946 by Francis M. Collison from Mr Baker of Maidstone, Kent, and published in Ralph Vaughan Williams and A.L. Lloyd’s Penguin Book of English Folk Songs.

Death and the Lady

As I walked out one morn in May,
The birds did sing and the lambs did play,
The birds did sing and the lambs did play,
I met an old man,
I met an old man by the way.

His head was bald, his beard was grey,
His coat was of a myrtle shade,
I asked him what strange countryman,
Or what strange place,
Or what strange place he did belong.

“My name is Death, cannot you see?
Lords, dukes and ladies bow down to me.
And you are one of those branches three,
And you fair maid,
And you fair maid must come with me.”

“I’ll give you gold and jewels rare,
I’ll give you costly robes to wear,
I’ll give you all my wealth in store,
If you’ll let me live,
If you’ll let me live a few years more.”

“Fair lady, lay your robes aside,
No longer glory in your pride.
And now, sweet maid, make no delay,
Your time is come,
Your time is come and you must away.”

And not long after this fair maid died;
“Write on my tomb,” the lady cried,
“Here lies a poor distressed maid,
Whom Death now lately,
Whom Death now lately hath betrayed.”

Michael Berman works as a teacher and a writer. Publications include The Power of Metaphor for Crown House, The Nature of Shamanism and the Shamanic Story for Cambridge Scholars Publishing, Shamanic Journeys through the Caucasus for O-Books, and All God’s Creatures: Stories Old and New for Pendraig Publishing. To and from the Land of the Dead, his latest work, is due to be published by Lear books in 2011. For more information please visit www.Thestoryteller.org.uk

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Review: The Visions of Isobel Gowdie

The Visions of Isobel Gowdie – Magic, Witchcraft and Dark Shamanism in Seventeenth-Century Scotland: Emma Wilby.
Sussex Academic Press, 2010, 616 p., illustrated,

ISBN 9781845191801  Review – by Joyce Froome

http://www.sussex-academic.com/sa/titles/history/wilbygowdie.htm

See also: http://www.youtube.com/watch?v=BGw-Vx1jWiY

and http://pelicanist.blogspot.com/2010/06/visions-of-isobel-gowdie.html

Cover of the book The visions of Isobel Gowdie

Emma Wilby’s first book, Cunning Folk and Familiar Spirits, took a dramatic new approach to the study of British witch-trial records. It showed that there was fascinating information about genuine magical practices locked in the grim pamphlets and confessions. She has now used the extraordinary case of the Scottish witch Isobel Gowdie to take her theories much further, in a book that combines a wealth of detailed research with some remarkably bold insights.

It begins with some revealing material about Isobel’s prosecutors, who were not single-minded fanatics but troubled men with financial problems and complicated sex lives. But when Emma Wilby turns to Isobel herself, she plunges us into challenging territory. She argues compellingly that Isobel was a shaman in the strictest sense of the word – someone who entered trance states to communicate with the spirit world, and experienced visions that involved joining a company of fairies who were essentially a pagan goddess and her followers.

Unfortunately goddesses and fairies are not always nice to humans, and Emma Wilby then takes an even more controversial step, suggesting that when the fairies turned nasty Isobel was their accomplice, striking down her neighbours with magical arrows forged in Elfland.

At times Emma Wilby perhaps has too much confidence in the “scrupulousness” of the officials and interrogators responsible for Isobel’s confessions, and takes too little account of the centuries-long campaign by the religious authorities to demonise magic. Even so, it’s a long time since I found a book so enthralling and provocative. The idea that some magical practitioners regarded themselves as “honorary fairies” or even servants of a sinister “fate goddess” is exciting and seductive. It adds another element to the fascinating mystery that is magic at the time of the witch-hunts, and this book is unquestionably brilliant, and extremely important.

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