Dancing outside the Museum of Witchcraft and Magic today. Torchlit procession at 5pm and music all evening in the various pubs
Dancing outside the Museum of Witchcraft and Magic today. Torchlit procession at 5pm and music all evening in the various pubs
“The Ouroboros is believed to have been inspired by the Milky Way.
Ancient texts refer to a serpent of light residing in the heavens
which, according to Ancient Alien Theory, was a spaceship or stargate.
Mythology: The Milky Way galaxy keeps a time cycle that ends in catastrophic change when the serpent eats its tail (at the end of the tale of this reality.) Suntelia Aion is the sun rising out of the mouth of the ouroboros, which allegedly occurs December 21, 2012 – representing the evolution of consciousness in the alchemy of time.
The Ouroboros and the Tree of Life
Papyrus of Dama Heroub Egypt, 21st Dynasty
The serpent or dragon eating its own tail has survived from antiquity and can be traced back to Ancient Egypt, circa 1600 B.C.E. It is contained in the Egyptian Book of the Netherworld. The Ouroboros was popular after the Amarna period.
In the Book of the Dead, which was still current in the Graeco-Roman period, the self-begetting sun god Atum is said to have ascended from chaos-waters with the appearance of a snake, the animal renewing itself every morning, and the deceased wishes to turn into the shape of the snake Sato (“son of the earth”), the embodiment of Atum.
The famous Ouroboros drawing from the early alchemical text The Chrysopoeia of Cleopatra dating to 2nd century Alexandria encloses the words hen to pan, “one is the all”. Its black and white halves represent the Gnostic duality of existence. As such, the Ouroboros could be interpreted as the Western equivalent of the Taoist Yin-Yang symbol. The Chrysopoeia Ouroboros of Cleopatra is one of the oldest images of the Ouroboros to be linked with the legendary opus of the Alchemists, the Philosopher’s Stone.
Plato described a self-eating, circular being as the first living thing in the universe – an immortal, mythologically constructed beast. The living being had no need of eyes when there was nothing remaining outside him to be seen; nor of ears when there was nothing to be heard; and there was no surrounding atmosphere to be breathed; nor would there have been any use of organs by the help of which he might receive his food or get rid of what he had already digested, since there was nothing which went from him or came into him: for there was nothing beside him.
Of design he was created thus, his own waste providing his own food, and all that he did or suffered taking place in and by himself. For the Creator conceived that a being which was self-sufficient would be far more excellent than one which lacked anything; and, as he had no need to take anything or defend himself against any one, the Creator did not think it necessary to bestow upon him hands: nor had he any need of feet, nor of the whole apparatus of walking; but the movement suited to his spherical form was assigned to him, being of all the seven that which is most appropriate to mind and intelligence; and he was made to move in the same manner and on the same spot, within his own limits revolving in a circle.
All the other six motions were taken away from him, and he was made not to partake of their deviations. And as this circular movement required no feet, the universe was created without legs and without feet. In Gnosticism, this serpent symbolized eternity and the soul of the world.
Because the Albigenses came from Armenia, where Zoroastrianism and Mithra worship were common, it may be that the symbol entered their iconography via the Zoroastrian Faravahar symbol, which in some versions clearly features an ouroboros at the waist instead of a vague disc-shape.
In Mithran mystery cults the figure of Mithra being reborn (one of the things he is famous for) is sometimes seen wrapped with an ouroboros, indicating his eternal and cyclic nature, and even references which do not mention the ouroboros refer to this circular shape as symbolizing the immortality of the soul or the cyclic nature of Karma, suggesting that the circle retains its meaning even when the details of the image are obscured.
The Double Triangle of Solomon
Ouroboros symbolism has been used to describe Kundalini energy. According to the 2nd century Yoga Kundalini Upanishad, “The divine power, Kundalini, shines like the stem of a young lotus; like a snake, coiled round upon herself she holds her tail in her mouth and lies resting half asleep as the base of the body” (1.82). Another interpretation is that Kundalini equates to the entwined serpents of the Caduceus, the entwined serpents representing commerce in the west or, esoterically, human DNA.
The Kirtimukha myth of Hindu tradition has been compared by some authors to Ouroboros.
Ouroboros… the dragon circling the tortoise which supports the four elephants that carry the world.
Chinese Ouroboros from Chou dynasty, 1200 BC.
The universe was early divided into Earth below and Heaven above. These, two as one, gave the idea of opposites but forming a unity. Each opposite was assumed to be powerful and so was their final unity. For creation of the universe they projected reproduction to conceive creation. Now reproduction results in the union of two opposites as male and female.
Correspondingly, the Chinese believed Light and Darkness, as the ideal opposites, when united, yielded creative energy. The two opposites were further conceived as matter and energy which became dual-natured but as one. The two opposites were yin-yang and their unity was called Chhi. Yin-Yang was treated separately in Chinese cosmology which consisted of five cosmic elements.
Since Chinese alchemy did reach Alexandria probably the symbol Yin-Yang, as dual-natured, responsible for creation, was transformed into a symbol called Ouroboros. It is a snake and as such as symbol of soul. Its head and anterior portion is red, being the color of blood as soul; its tail and posterior half is dark, representing body.
Ouroboros here is depicted white and black, as soul and body, the two as “one which is all.” It is cosmic soul, the source of all creation. Ouroboros is normally depicted with its anterior half as black but it should be the reverse as shown here. With the name Chemeia taken to Kim-Iya, the last word would take Ouroboros to Yin-Yang.
The serpent god Quetzalcoatl is sometimes portrayed biting his tail on Aztec and Toltec ruins. A looping Quetzalcoatl is carved into the base of the Pyramid of the Feathered Serpent, at Xochicalco, Mexico, 700-900 AD.
Seven-segmented Aztec Ouroboros
In Norse mythology, it appears as the serpent Jormungandr, one of the three children of Loki and Angrboda, who grew so large that it could encircle the world and grasp its tail in its teeth. In the legends of Ragnar Lodbrok, such as Ragnarssona patter, the Geatish king Herraud gives a small lindworm as a gift to his daughter Pora Town-Hart after which it grows into a large serpent which encircles the girl’s bower and bites itself in the tail. The serpent is slain by Ragnar Lodbrok who marries Pora. Ragnar later has a son with another woman named Kraka and this son is born with the image of a white snake in one eye. This snake encircled the iris and bit itself in the tail, and the son was named Sigurd Snake-in-the-Eye.
Earthly Ouroboros from Alciato‘s Emblems
Oceanic Ouroboros from Alciato’s Emblems
The ouroboros is displayed on numerous Masonic seals,
frontispieces and other imagery, especially during the 17th century.
The Ouroboros is featured in the seal of the Theosophical Society
along with other traditional symbols.
Tarot and Watermarks
The Ouroboros symbol appears in both 14th- and 15th-century Albigensian-printing watermarks and is also worked into the pip cards of many early (14th-15th century) playing cards and tarot cards. Watermarks similar to those used by the Albigensians appear in early printed playing cards, suggesting that the Albigenses might have had contact with the early authors of tarot decks.
A commonly used early symbol – an ace of cups circled by an ouroboros – frequently appears among Albigensian watermarks. It is conceivable that this is the source of some of the urban legends associating this symbol with secret societies, because the Albigenses were closely associated with the humanist movement and the inquisition it sparked.
Alchemically, the ouroboros is also used as a purifying glyph. Ouroboros was and is the name for the Great World Serpent, encircling the Earth.
The word Ouroboros is really a term that describes a similar symbol which has been cross-pollinated from many different cultures. Its symbolic connotation from this owes to the returning cyclical nature of the seasons; the oscillations of the night sky; self-fecundation; disintegration and re-integration; truth and cognition complete; the Androgyny; the primeval waters; the potential before the spark of creation; the undifferentiated; the Totality; primordial unity; self-sufficiency, and the idea of the beginning and the end as being a continuous unending principle.
Ouroboros represents the conflict of life as well in that life comes out of life and death. ‘My end is my beginning.’ In a sense life feeds off itself, thus there are good and bad connotations which can be drawn. It is a single image with the entire actions of a life cycle – it begets, weds, impregnates, and slays itself, but in a cyclical sense, rather than linear.
Thus, it fashions our lives to a totality more towards what it may really be – a series of movements which repeat. “As Above, So Below” – we are born from nature, and we mirror it, because it is what man wholly is a part of. It is this symbolic rendition of the eternal principles that are presented in the Emerald Tablets of Thoth.
The Ouroboros connects the Above and Below
Connection between Man and God
Swiss psychologist Carl Jung interpreted the Ouroboros as having an archetypal significance to the human psyche. It makes its way into our conscious mind time and time again in varying forms as the basic mandala of alchemy. Jung defined the relationship of the ouroboros to alchemy:
The ouroboros is a dramatic symbol for the integration and assimilation of the opposite, i.e. of the shadow. This ‘feed-back’ process is at the same time a symbol of immortality, since it is said of the ouroboros that he slays himself and brings himself to life, fertilizes himself and gives birth to himself. He symbolizes the One, who proceeds from the clash of opposites, and he therefore constitutes the secret of the prima materia which […] unquestionably stems from man’s unconscious’. (Collected Works, Vol. 14 para.513)
The Jungian psychologist Erich Neumann writes of it as a representation of the pre-ego “dawn state”, depicting the undifferentiated infancy experience of both mankind and the individual child.
The 19th century German chemist named Kekule dreamed of a snake with its tail in its mouth one day after dosing off. He had been researching the molecular structure of benzene, and was at a stop point in his work until after waking up he interpreted the dream to mean that the structure was a closed carbon ring. This was the breakthrough he needed.
Organic chemist August Kekule claimed that a ring in the shape of Ouroboros that he saw in a dream inspired him in his discovery of the structure of the benzene ring.
… It seems that the Ouroboros is a powerful archetypal symbol, a part of our Spiritus Mundi, the collective unconscious which thrives within each soul.”
“I’ve been doing a lot of thinking about witches. Not just because top ten lists of hot tv witches and sexy Halloween selfies currently swamp my social media feeds, but because my tables and shelves are currently so laden with herbs, plants, berries, phials and bottles that if an inquisitor of old were to enter, I’d find myself quickly tied to the stake. And while this worry seems remote, it’s a plain fact that women in third world countries are still hunted down, tortured and set aflame for the crime of witchcraft.
Sure, the witch is emerging from the world of taboo and shadows onto the world stage. Sure, she’s being touted as a feminist icon – a “powerful feminine model free from male influence or ownership”. But I’m not so sure. Because how can it be that the witch, once associated with everything transgressive and beyond the realm of normative society, is now so trendy and positively mainstream? Is it really a feminist step forward that W magazine declared Fall 2016, the season of the witch, replete with pouting models in gothic dresses, chains and black lace underwear?
And while many believe the witch of the middle ages was a spectre created by the church, I believe she was real. Yes, many put to death were just ordinary women who practiced folk magic, herbalism and midwifery, but many were powerful spiritual leaders of the indigenous, animist faith traditions of the old world – and their magic was earned through a lifetime of spiritual discipline spent in communion with nature.
And I worry her make-over into nubile fashion siren not only obscures this history, but her true relevance as a role model to us today. One that if resurrected, would be just as subversive and dangerous to the powers that be.
Today the witches tall black hat and burbling cauldron have become icons of Halloween kitsch, but they were once hallowed items of the holy women and priestesses, the healers and herbalists, the oracles and diviners of old Europe. Their conical hats and cauldrons date back to the 2nd Millennium BCE and were connected to the female shamans of the Indo-European peoples.
Their cauldrons (as well as crystal balls and magical wands) were still being used thousands of years later by the “witte wieven” or wise women, the sibyls, seers, and female druids of Celtic, Anglo Saxon, and Norse traditions of the middle ages.
According to Max Dashu, author Witches and Pagans: Women in European Folk Religion, these “dream-readers, sooth-sayers, and herb-chanters, fire-gazers in Switzerland, or water-gazers in France and Spain”, practiced “all the elements of shamanism: chants, prophecy, healing, weather-making powers, and shapeshifting”. Legends tell of their sacred cauldrons in which “they simmered mysterious herbs to produce a drink of immortality and resurrection.”
These women were the guardians of the earth, the protectors of the sacred groves, lakes and springs, from which they derived their magical power. And until the middle ages they were highly respected, sought out and consulted for healing and divination by common folk, nobility and clergy alike.
But according to Barbara G. Walker , it was during the 14th century that the Catholic Church, during its relentless expansion and appropriation of sacred land, began to distinguish between witchcraft, perpetrated by women, and sorcery, a legitimate pursuit of men.
While books on sorcery were condoned well into the enlightenment, female witches in contrast were said to “magically injure crops, domestic animals, and people, and in general “outrage the Divine Majesty”. And thus their religious practices (as described by Dashu) of “sitting-out” on the land “gazing, listening, gathering wisdom” were extinguished by a priesthood that sought to bring nature, magic, women (not to mention their land and property) under male control.
These women did not go easily, or take usurpation of their holy sites and old ways lightly – it took the Church hundreds of years to hunt them down. And so it seems likely, at least to me, that the stereotype of vengeful witch, casting curses and blighting crop, was real, at least for the church. She must have been the original eco-feminist, fighting the patriarchy with one of most powerful tools at her disposal, magic. And the Church took it pretty seriously indeed.”
Read More here: https://gathervictoria.com/2016/10/23/reclaiming-the-radical-legacy-of-the-witch/
The spectacular Vali Myers.
The biggest inspiration to me is Vali Myers, a fiery demon angel who covered the world in her goldleaf and fine ink, gypsy dancing and hordes of animals; a fox in human form.
“She was an Amazon. An indomitable creature, a stoic and spartan nomad soul. A primeval, telluric, pagan spirit.”
— Gianni Menichetti on Vali
She was born in the 30s in Australia, later working in factories to save money for dancing lessons. She left for Paris at 19 to pursue a dance career, ending up living on the streets of the Left Bank, a haze of opium and darkness, though she kept living through her drawings, eventually being exiled from France.
“We lived in the streets, in the cafes, like a pack of mongrel dogs. We had our very own codes. Students and people with jobs were kept out. As for the tourists who came around to gawk…
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Excellent article by David Salisbury
Brigid, meaning “exalted one”, is the daughter of the Dagda and a true survivor goddess. Throughout the many twists and turns of religion in the British Isles, Brigid has managed to stay within the heads and minds of the people. Whether in the form of a saint, a goddess, or the embodiment of the land, she is the keeper of tradition that stretches into antiquity. Witches and pagans who maintain a religious devotional practice often honor Brigid only on Imbolc. But as this next Imbolc approaches, I ask you to take that a step further and maintain a regular practice with her, if she calls to you.
Brigid is a poet, a smith, a healer, an artist, and the kindler of flames. For those familiar with the Norse runes, you might think of her power best described by Kenaz, the torch rune. She ignites the inner flame within us, allowing us to seek our own healing, our own power. She asks “What tools do you bring to this work? What do you need?” The following is a simple devotional you may perform on Imbolc or any time at all. If you wish to form a close bond with the Exalted One, regular devotionals, prayer, and deep listening will go a long way.
Early in the morning, just as the sun is rising, approach your altar space or some other space in the home where you can see the sun if possible. Begin by breathing slowly and deeply, until you enter a state of meditation suited for deep communion with the gods. With each breath, feel the first rays of the sun flowing into your body, as if on a stream of flowing water or the crisp sweetness of wine. Have three fresh candles before you. You may wish to dress them with oils and plants associated with Brigid such as angelica, myrrh, wisteria, heather, and basil.
Light the first candle and say:
Lady of the forge, I call to you. The fierce strike of the anvil resounds the call for transformation. I honor you.
Light the second candle and say:
Lady of the healing cloth, I call to you. Sunlit rays upon the dawn awaken the weary travelers. I honor you.
Light the third candle and say:
Lady of the sacred flame, I call to you. You who are eternal and forever unending. The holy spark. I honor you.
Take your time observing the light of the three candles and meditate for a bit on these powers that you have honored. Contemplate how transformation, the renewal of a new day, and the warmth of a flame in the winter make you feel. Brigid is the embodiment of these powers on their own and the feelings that stir as a result of them.
Before you is placed a bottle of wine or some other special drinking brew. There is also a bowl that will hold the offering. Breathing deeply, hold the vessel of the brew before you and say:
Lady of the deep well
Shepherd and keeper of humanity
Cosmic queen of the dawn
Keeper of the healing waters
I honor you!
Pour the brew into the bowl and raise it high before you. At this point I try to notice if I can actually feel her presence. I may also whisper personal words of honor, or even poetry. As a bardic goddess, I find that Brigid is often impressed when someone takes the time to speak original poetry in her name. Writing and releasing this devotional is one such offering.
When you’re done, you can leave the offering bowl on your altar for a bit or immediately take it outside and pour it (with reverence) onto the ground.
It is done.
Brigid: Meeting the Celtic Goddess of Poetry, Forge, and Healing Well by Morgan Daimler
Brigid: History, Mystery, and Magick of the Celtic Goddess by Courtney Weber
Tending Brigid’s Flame: Awaken to the Celtic Goddess of Hearth, Temple, and Forge by Lunaea Weatherstone
Imbolc: Rituals, Recipes & Lore for Brigid’s Day by Carl F. Neal
And from Empowering Astrology:
“Happy Imbolc! We’re in the part of the zodiacal calendar when the Sun is halfway between the season. Here in the northern hemisphere we’re in mid-winter, the time when the Sun hits around 15 Aquarius.
The ancients celebrated these “cross quarter days” with different rituals and festivals. Halloween is another one of the four festivals along with Beltane/May Day (5/1) and Lammas Day (8/1). Here in the US, we celebrate Groundhog Day and predict the arrival of spring.
In other news the Moon is in Sagittarius today, turning our sights toward foreign lands, long distance travel, exploration, faith, and philosophy. Wherever the Moon is day-by-day reveals how we’re nourishing ourselves and the emotional tone of the day.”
Witchcraft, Wicca, paganism, goddess-based spirituality. Whatever you want to call the practice of magic, it’s empowering women.
Enchantments is a New York City occult store (and home to three cats) that sells custom candles, incense, spiritual books, blended oils and other magical products. It’s also a place where both seasoned practitioners and people completely unfamiliar with magic come to seek answers.
Stacy Rapp, a witch and the owner of Enchantments, says that the interest in witchcraft is increasing. While people of all genders are welcome in the community, Rapp said that women are particularly drawn to magic because of the gender equality inherent in the practice of witchcraft and the option to worship female deities. Goddess-based spirituality is also appealing to young queer and trans young people, who may feel unwelcome in other religious communities.
Ammo O’Day, an Enchantments employee, personal trainer and life coach, said that she came to witchcraft after rebelling against her Catholic upbringing.
“I was told I was going to hell because I’m a woman,” said O’Day, who spent 12 years in Catholic school. “I knew from a very young age that something was up… that everything I was taught about being female was incorrect.”
I spoke to Rapp about how she came to practice magic, stereotypes about witchcraft, and how she hopes to empower other women through education.
How did you start practicing witchcraft?
I started reading up on it when I was 14 or 15. I did a lot of research on my own into persecution in Salem and witchcraft trials. That was a way to subjugate independent, strong unmarried women in a puritanical society. Puritanical society’s attitudes towards women make even some of the most screwed-up attitudes towards women seem lax. My interest was always there. The more I learned, the more I saw the potential.
I’ve been working here at Enchantments for 15 years. I see the extreme potential to undo a lot of the negative… attitudes towards women, I guess, from traditional religion or from society or from culture. We get a lot of people coming in saying, OK, I was raised Christian, it’s just not working for me. There is nothing for women’s empowerment. There is nothing for strengthening, nothing saying, “This is gonna help you get through all of this.” There is nothing that teaches you how to deal with abusive people, with abusive men. And there is nothing for healing certain aspects of women, whether that’s their psyches, or a physical or emotional healing.
What do you think the draw is, especially for people who may not have grown up knowing anything about this type of spiritual practice?
People are looking for a higher power that’s gonna be more like them, in their image. We do get a lot of guys, too, I’m not gonna say it’s female-centered at all. I think the biggest draw with witchcraft, unlike a lot of spiritual craft, is that it’s proactive. You have the ability to manifest positive change in your life. As opposed to thinking, if you pray really hard, maybe this will happen. It’s a lot more focused on working with the universe.
A lot of the stuff we deal with is love magic. Love and money, mostly. We’ve tried over the years to emphasize the fact that particularly with the love stuff, the most important place to start is with yourself. If you’re trying to attract positive people, you need to feel positive about yourself. I think, unfortunately, women are raised to see themselves not always as positive. That’s a cultural thing to some degree.
You’ve said that one of your major goals is to educate and empower women. How are you doing that?
A lot of what I’m extremely passionate about is empowering women, young women in particular. I have nieces now, and I don’t want them to grow up with the same stereotypes that I did, or my mom did. I want them to grow up to be strong independent women.
We do get a lot of young women [coming into the store] who are high school-age, who are trying to find themselves, trying to find their voice. They come in for education. It’s a lot more available because of the internet. Unfortunately, there is a lot of misinformation out there too.
What do people come in to Enchantments looking for?
We do deal with people wanting to put curses on others. We just don’t do it. That’s not what we’re about. We’re about self-improvement, empowerment, education, and helping people to better their own lives. To improve themselves, to improve their lives, to improve things for their family. It’s all about positive change.
There is a moral code to witchcraft. Hollywood and the media have focused on the lack of moral code that does exist in some people. That’s ultimately what creates scandal and spectacle and whatnot. But we don’t do the black magic… in the end result, it doesn’t help people. It actually hurts you.
What are some common misconceptions about witchcraft that you want to clear up?
Ah, the myths of witches, my favorite topic. A lot of [the stereotypes come from] fear. A lot of that comes from the rise of monotheism and the subjugation of women.
If you look at some of the witchcraft trials and persecutions in history, there were some men, but mostly women. Most of them were unmarried, they may have even been lesbians, they were healers, they were usually outspoken, very independent. The idea that if a woman is unmarried there must be something wrong with her.
If you look at certain cultures, you know, there is no difference between a witch and a medicine man or a shaman, except gender. And yet… they weren’t persecuted the same way. Witchcraft was a way to persecute women who were strong and outspoken in a time when women had no rights, and had no function other than to be baby machines. It was a way to keep women down, and keep women from rising to any sort of power.
Have people reacted negatively to you as a practitioner of magic?
I’ve been called all sorts of things over the years. We have people preaching outside [the store] sometimes saying we’re all going to hell, and I say “Thanks! Very productive.”
Has it been hard to dispel stereotypes, and help people understand what your practice is actually about?
A lot of the stereotypes are Hollywood stereotypes, too. You can’t just snap your fingers and make something happen. You can’t float in the air, you can’t fly on a broom. Much as we would love to. In terms of changing people’s minds, a lot of that is positive press. Or word of mouth. And people are interested.
We explain what we do and say to other things, “That’s not what real witches do.” We turn down bullsh*t scandal stories. And there’s been a huge, huge push to educate people about what magic really is. It seems to work.