Tag: witchcraft

Getting Started

I’ve been having fun topic-hopping over these past few introductory posts, but maybe it’s time to try for something more chronological if not actually more coherent. Let’s talk about getting started with a magico-spiritual practice. Before we dive in here, this post and frankly anything written anywhere in this blog is just my viewpoint and there are about as many perspectives on this topic as there are practitioners. You should question everything, including my suggestion to question everything, just to be safe.

When I use the term magico-spiritual practice, I am usually referring to one of several belief systems/magical paths commonly practiced in the West today, including Witchcraft, Wicca, Neo-Paganism, Western Occultism/Western Mystery Traditions, modernist magical practice and some New Age schools among others. We are such a diverse and loosely knit community that there isn’t really a comprehensive name to describe all of us. I favor “magico-spiritual practitioner”, implying a few commonly held beliefs and practices: (1) ‘fringe’ spiritual beliefs such as Pagan deities or notions of Divinity that differ from most standard beliefs today, (2) belief that humans can directly communicate with their notion of Divinity and/or aspire to become more Divine, (3) the concept that humans can alter their reality either with their own conscious or via the assistance of Divine or other beings with effects of those workings ranging from the mundane to the transcendent.

Really central to this idea is the thought that reality is something that we can effect in other ways than just our words and actions (although these certainly play a vital part). We are conscious players in our own realities through the manipulation of symbols. The question to keep in mind is, if you’re taking an active role in your reality, where are you going to take it and why?

Humankind has been engaged in this behavior for literally tens of thousands of years– first with nature entities and Shamans, developing in the Western world into the (mostly) Pagan civilizations of antiquity, rising through the Christian and Judaic mystery traditions and Hermetic revival, hidden in soup pots and behind curtains, thinly veiled behind acceptable iconography, all the way through the more recent occult revival and now the massive surge in New Age/Witchcraft in particular today. Though this path has been maligned and misunderstood, it is our human birthright to continue to apply ourselves to the pursuit of the Mystery.

Along the way it can be easy to get tangled up in this school of thought or that, and caught up in the tapestry of personalities that make up today’s community of practitioners. A couple suggestions to help you stay on track:

  1. DO: Start where you are. There is no need to go out and purchase an entire occult store (although the owner will certainly thank you and will be sure to do that Jupiter working again sometime). Begin with a simple meditation practice, ten minutes a day. More thoughts on that later.
  2. DON’T feel pressured to identify as any particular thing, or to identify as any one thing
  3. DO: Hold the attainment of balance and wisdom in the highest regard to help guide your decision-making; do be honest with yourself and record your experiences
  4. DO: Think critically about everything you hear, ask questions, politely call bullsh*t when you hear it.
  5. DO your homework, preferably from credible sources
  6. DO NOT lose your sense of humor

Up next, Meditation and Breath.

Magic Like Jazz

Last weekend I had the opportunity to join a longtime friend leading the opening ritual to a nearby Pagan Pride festival. This was my first time in a public working in quite some time and it felt really great to “get back out there” again performing an Autumn Inundation rite to Isis. Back behind the altar with an audience again, I was reminded of how complex it can be to pull off even a basic ritual for the public but also of how helpful it can be to develop this skillset for ourselves and to further our understanding the function and mechanisms of ritual within a wider context.

Although a lot can be said about spontaneity, ecstasy and improvisation, ritual also has its place in your magical toolbox and implies the notion of a series of actions performed with some degree or organization. The steps and words will vary depending on your individual practice, with certain steps commonly overlapping among the various western-influenced traditions. For a newcomer this can all sound esoteric pretty quick, but as a trained music teacher and one time theater kid here are some interesting analogies:

In my experience, the most effective rituals work like jazz, with just enough structure to keep it sounding good and prevent the thing from falling apart. As the instruments have to be in tune, the practitioners need to be physically, emotionally and spiritually ‘in shape’ and prepared. The players need to be in the same key and playing the same song, and likewise all practitioners should understand the purpose of the working (many systems would attribute the purpose of the working to a planetary correspondence– and since planets were and still are believed to correspond to the music scale this analogy is especially apropos but that’s a topic for another post).

There are several areas that differentiate jazz from earlier forms of Western music, one of them being the structure of the song. Western music is typically written down, all the parts detailed from start to finish. Everyone knows their role and exactly what they’re supposed to play. In jazz the structure is much looser: if players have any sheet music in front of them its typically just the melody and chords. Although the chords are complex vs. prior western musical forms the structure is super simple because the simplicity of the structure allows the players to do more within it. The group goes through the ‘head’ (recognizable melody) a couple times and then opens up to improvisation, with players taking turns creating their own statements while others maintain the chords and beat to keep the song together.

Although there are times when pure improvisation or absolute planning are the best options, I mostly favor rituals that work like jazz. We need familiar elements to get our bearings, a few rules to create the right headspace and hold the thing together. We need a comprehensive understanding of the underpinnings of the harmonies. If joined by others, we start together as a group, but once the tune is rolling we open up the stage for play and becoming lost in the moment because that is where the magic happens. Within a group, this takes practice, trust and a mutual understanding of the working and of one another. For someone with a couple of years of music training it is relatively easy to sit down and play through a piece of Western music in a large group of people. Playing jazz within a small group takes a whole other skill set, paramount of which is a ton communication between players that borders almost on intuition. Even playing alone with recorded chords, the moment of improv can be extremely challenging- remembering the structure and timing of the chords, thinking quickly enough to weave a melody between those changing harmonies that actually sounds good- those skills take practice but can also reward the player with an opportunity for a unique sort of transformative expression that’s a little different from one’s experience playing more rigid structures.

As magico-spiritual practitioners we need to strike a balance on the role of structure, routine and ritual in our approach to our workings and can extrapolate this idea into the concept of rigidity in ideas or beliefs. I’ve commonly seen it said in Wiccan circles that “if I wanted structure, I would still be in church”. Great abstract painters should still learn realism first. I’d encourage anyone looking to go deeper to establish at least a couple of core ritual elements for themselves to make a part of your regular workings– and after that, lead plenty of space for play.

“I had spent many years pursuing excellence, because that is what classical music is all about… Now it was dedicated to freedom, and that was far more important.” 

-Nina Simone