broomsick

[broomsick]

The Vikings Heading for Land, Frank Bernard Dicksee (1873)

The Funeral of a Viking, Frank Bernard Dicksee (1893)

[broomsick]

Hail, Baldr, shining god of light,

Beloved of all, bringer of hope and peace,

You whose presence banishes shadow,

Guide us now in these times of darkness and strife.

When the weight of injustice threatens to overwhelm,

And the world feels cloaked in despair,

Grant us your light to illuminate the truth,

And the courage to act with compassion and resolve.

Teach us to be a beacon for those in need,

To lift the fallen, to comfort the grieving,

And to stand firm against hatred and oppression,

With kindness and honor as our guiding stars.

Baldr, radiant protector of harmony,

We call upon your warmth to heal what is broken,

Your wisdom to guide our steps toward equity,

And your love to strengthen our hearts in the fight for justice.

Bless us with your clarity,

To unite in purpose as we strive for a brighter, fairer world.

May your light inspire us to be unwavering in our pursuit of what is right.

Hail, Baldr! Shine upon us and through us,

As we carry the torch of justice into the darkest of nights.

[broomsick]

A good recommendation, I'll make sure to give this album a listen! And yes the Wardruna project is just full of these gems, and the album Skald has always been among my favorites when it comes to nordic folk music!

Short guide to varðlokkr

Briefly exploring ritual singing and spirit work in the nordic tradition, and their possible uses in neo-pagan practice.

Before performing divination, it's said that völur would sing, or more often than not, have someone sing a ritual song in order to "rouse the spirits". This ritual was a way to call upon nearby spirits—generally guardian spirits, to come and answer their questions. The practice of varðlokkur, or "ward songs/protection songs", is tightly interwoven with the art of seiðr. According to the few sources that mention the topic, it was performed by seeresses seeking to prophecize, or by women willing to sing it in their stead.

Before diving deeper into this topic however, it's important to note that the interpretation of the term varðlokkr, and in a sense, the very basis of its current scholarly understanding, depends on its possible etymology. Two hypotheses stand out in this regard: varðlokkr is either spelled with one or two k's, either varðlok or varðlokk. The former would refer to "locking", or "fastening", and is often associated with a passage in the Grógaldr (The Spell of Gróa) where the shamaness refers to Urðar lokur, or Urð's locks/bolts. In this case, the song is a matter of "locking" the spirits in. Whereas varðlokkr would stem from the same root (vǫrðr, meaning to guard or ward), but in this case, lokkr would come from lokka, meaning to lure, or entice. It's generally agreed upon that both these instances showcase how the idea of protection was a key element in the perception of this practice.

These so-called "Weird-songs" sometimes required the use of a rhythmical sound created using drum beating, rattles, or by hitting the ground with a staff. They served as an invocation to higher powers or local spirits, who would be keen to protect ("ward") the seeress as she glimpsed into the future. According to pre-Christian belief, the sound of these songs had the power to appease surrounding spirits, but also to entice and lock them into the space for the duration of the divination. Letting her spirit wander out of her body in order to scry, the völva/seiðrkona became vulnerable, hence the need for higher protection. Now "bound" to her until the completion of the ritual, the guardian spirits would be inclined to lend their help. Depending on the intepretations, this type of ritual singing could also have been a means to reach a trancelike state before fortune telling.

'Many spirits,' said she, 'have been present under its charm, and were pleased to listen to the song, who before would turn away from us, and grant us no such homage. And now are many things clear to me which before were hidden both from me and others.' Eiríks saga rauða, chapter 3

The trance aspect of this practice is often debated, however. Granted, it's possible to point out similarities between seiðr and the "out of body" travel of Sámi and Siberian shamans. After all, a few sources tell us that varðlokkr would also serve to bring the völva back into her own body once she'd prophecized. Still, scholars more often than not consider varðlokkr and other seiðr practices as putting oneself in a "receptive state" in order to comprehend messages sent from the spirit world.

At the beginning of the séance all those present seem to have taken part in the singing, but a special choir was appointed for continuing operations:  this is in several accounts said to consist of women or one woman. Singing continues throughout the séance, the purpose being to remind the shaman of his mission.  Some sources indicate that the singing was concentrated or confined to the final stages of the trance, and the aim here was to wake the shaman. Louise Bäckman & Åke Hultkrantz

Think of varðlokkr as a way to blend music, divination and spirit work. A modern practitioner who already works with Dísir, vættir, ancestors, and the like can involve these familiar spirits in the ritual, for example, by calling upon a passed loved one to protect them during divination, or even to aid in finding answers. It's generally agreed upon that during the Scandinavian pre-Christian times, the wisdom of the dead occupied a vital place in many such shamanic practices. One could seek advice from passed mentors or loved ones in this manner. Even disregarding the idea of "rousing" spirits and "locking" them, I believe that one could still use to music as ritualized invocation—especially when it comes to ancestor work, in order to ask for advice or insight.

Next to nothing is known about what varðlokkr actually sounded like. However, I think it's still interesting to explore the idea of ritual singing as a shamanic practice. For someone interested in experimenting with galdr, seiðr, or any such shamanic practices in the Nordic tradition, varðlokkr seems like a great place to start.

So how does one incorporate ritual singing into neo-pagan practice? I'm sorry to say that it's exceedingly difficult to somehow reconstruct varðlokkr, as history has left us with nothing but bits and pieces to work with. However, three main particularities stand out and aid us in tracing a general outline: 1. the Weird-song is sung before divination as an opening practice; 2. its purpose is to call upon spirits; and 3. it most likely served as a sort of short-term ward for the person performing the ritual. These three concepts may be preserved, and the freedom to build around them is yours.

For this reason, we even have the option to simply pick a song which feels sacred and play it before rune casting, or tarot reading for example (needless to say such a practice also applies to any and all methods of divination, including scrying). After all, there's really no indication that the practitionner must sing the song themselves. Even in the few accounts mentioning varðlokkr, the seeress isn't always the one singing.

But if you decide to sing the varðlokkr yourself, it's also possible to learn the lyrics to a song that's already part of your practice. If working with the spirits of the dead, and especially with passed loved ones, why not play a song that a given ancestor loved in life? Artist Einar Selvik has composed a short skaldic-type song called Vardlokk, which has understandably become my own ritual song. I play it to get into a spiritual state of mind, helping me tremendously before spirit work—which coincides in many ways with the original purpose of varðlokkr. But it's safe to say any type of music may be used. And if you're interested in trance or trance adjacent practices, chanting may be used in such a manner as well.

There are many ways for us neo-pagans to adopt the practice of varðlokkr, since in one way or another, music is always tightly intertwined with religious practice. One can choose to wholly disregard the spirit work aspect and simply explore the idea of ritual song and its ties to divination. No matter the case, shamanic practices were an inherent part of Nordic religious tradition, and I think it can be useful for modern practitioners to learn about them and explore the possibilities that they offer.

If you're interested in further reading, I've linked at the beginning of this post an ask I answered a while back pertaining to seiðr, galdr, and other shamanic practices of the Norse. Within the post are also a few suggested pieces of reading that have helped my personal understanding and research.

[broomsick]

Short guide to varðlokkr

Briefly exploring ritual singing and spirit work in the nordic tradition, and their possible uses in neo-pagan practice.

Before performing divination, it's said that völur would sing, or more often than not, have someone sing a ritual song in order to "rouse the spirits". This ritual was a way to call upon nearby spirits—generally guardian spirits, to come and answer their questions. The practice of varðlokkur, or "ward songs/protection songs", is tightly interwoven with the art of seiðr. According to the few sources that mention the topic, it was performed by seeresses seeking to prophecize, or by women willing to sing it in their stead.

Before diving deeper into this topic however, it's important to note that the interpretation of the term varðlokkr, and in a sense, the very basis of its current scholarly understanding, depends on its possible etymology. Two hypotheses stand out in this regard: varðlokkr is either spelled with one or two k's, either varðlok or varðlokk. The former would refer to "locking", or "fastening", and is often associated with a passage in the Grógaldr (The Spell of Gróa) where the shamaness refers to Urðar lokur, or Urð's locks/bolts. In this case, the song is a matter of "locking" the spirits in. Whereas varðlokkr would stem from the same root (vǫrðr, meaning to guard or ward), but in this case, lokkr would come from lokka, meaning to lure, or entice. It's generally agreed upon that both these instances showcase how the idea of protection was a key element in the perception of this practice.

These so-called "Weird-songs" sometimes required the use of a rhythmical sound created using drum beating, rattles, or by hitting the ground with a staff. They served as an invocation to higher powers or local spirits, who would be keen to protect ("ward") the seeress as she glimpsed into the future. According to pre-Christian belief, the sound of these songs had the power to appease surrounding spirits, but also to entice and lock them into the space for the duration of the divination. Letting her spirit wander out of her body in order to scry, the völva/seiðrkona became vulnerable, hence the need for higher protection. Now "bound" to her until the completion of the ritual, the guardian spirits would be inclined to lend their help. Depending on the intepretations, this type of ritual singing could also have been a means to reach a trancelike state before fortune telling.

'Many spirits,' said she, 'have been present under its charm, and were pleased to listen to the song, who before would turn away from us, and grant us no such homage. And now are many things clear to me which before were hidden both from me and others.' Eiríks saga rauða, chapter 3

The trance aspect of this practice is often debated, however. Granted, it's possible to point out similarities between seiðr and the "out of body" travel of Sámi and Siberian shamans. After all, a few sources tell us that varðlokkr would also serve to bring the völva back into her own body once she'd prophecized. Still, scholars more often than not consider varðlokkr and other seiðr practices as putting oneself in a "receptive state" in order to comprehend messages sent from the spirit world.

At the beginning of the séance all those present seem to have taken part in the singing, but a special choir was appointed for continuing operations:  this is in several accounts said to consist of women or one woman. Singing continues throughout the séance, the purpose being to remind the shaman of his mission.  Some sources indicate that the singing was concentrated or confined to the final stages of the trance, and the aim here was to wake the shaman. Louise Bäckman & Åke Hultkrantz

Think of varðlokkr as a way to blend music, divination and spirit work. A modern practitioner who already works with Dísir, vættir, ancestors, and the like can involve these familiar spirits in the ritual, for example, by calling upon a passed loved one to protect them during divination, or even to aid in finding answers. It's generally agreed upon that during the Scandinavian pre-Christian times, the wisdom of the dead occupied a vital place in many such shamanic practices. One could seek advice from passed mentors or loved ones in this manner. Even disregarding the idea of "rousing" spirits and "locking" them, I believe that one could still use to music as ritualized invocation—especially when it comes to ancestor work, in order to ask for advice or insight.

Next to nothing is known about what varðlokkr actually sounded like. However, I think it's still interesting to explore the idea of ritual singing as a shamanic practice. For someone interested in experimenting with galdr, seiðr, or any such shamanic practices in the Nordic tradition, varðlokkr seems like a great place to start.

So how does one incorporate ritual singing into neo-pagan practice? I'm sorry to say that it's exceedingly difficult to somehow reconstruct varðlokkr, as history has left us with nothing but bits and pieces to work with. However, three main particularities stand out and aid us in tracing a general outline: 1. the Weird-song is sung before divination as an opening practice; 2. its purpose is to call upon spirits; and 3. it most likely served as a sort of short-term ward for the person performing the ritual. These three concepts may be preserved, and the freedom to build around them is yours.

For this reason, we even have the option to simply pick a song which feels sacred and play it before rune casting, or tarot reading for example (needless to say such a practice also applies to any and all methods of divination, including scrying). After all, there's really no indication that the practitionner must sing the song themselves. Even in the few accounts mentioning varðlokkr, the seeress isn't always the one singing.

But if you decide to sing the varðlokkr yourself, it's also possible to learn the lyrics to a song that's already part of your practice. If working with the spirits of the dead, and especially with passed loved ones, why not play a song that a given ancestor loved in life? Artist Einar Selvik has composed a short skaldic-type song called Vardlokk, which has understandably become my own ritual song. I play it to get into a spiritual state of mind, helping me tremendously before spirit work—which coincides in many ways with the original purpose of varðlokkr. But it's safe to say any type of music may be used. And if you're interested in trance or trance adjacent practices, chanting may be used in such a manner as well.

There are many ways for us neo-pagans to adopt the practice of varðlokkr, since in one way or another, music is always tightly intertwined with religious practice. One can choose to wholly disregard the spirit work aspect and simply explore the idea of ritual song and its ties to divination. No matter the case, shamanic practices were an inherent part of Nordic religious tradition, and I think it can be useful for modern practitioners to learn about them and explore the possibilities that they offer.

If you're interested in further reading, I've linked at the beginning of this post an ask I answered a while back pertaining to seiðr, galdr, and other shamanic practices of the Norse. Within the post are also a few suggested pieces of reading that have helped my personal understanding and research.

[broomsick]

Haven’t had the time to worship in a while? Pour two cups of tea, one for yourself, and one for a deity! Or write your feelings down in your Notes app, as if writing to a friend: the Gods are listening. Every little act of devotion has meaning.

[broomsick]

Glory sung by the wise

In praise of their King

The foe of ignorance

By whose hand

Their skill was given.

By whose divine will,

By whose peerless judgement,

The wheel awakens and turns

Death to life, ashes to flame.

[broomsick]

"Never reproach another for his love:

It happens often enough

That beauty ensnares with desire the wise

While the foolish remain unmoved."

Hávamál - The Sayings of Hár, stanza 93 (Hollander trans.)

Odin and Brunnhilde, Ferdinand Leeke (1898)

[broomsick]

Monument to Widukind (“child of the woods”) of Saxony, in Herford

[broomsick]

Haven’t had the time to worship in a while? Pour two cups of tea, one for yourself, and one for a deity! Or write your feelings down in your Notes app, as if writing to a friend: the Gods are listening. Every little act of devotion has meaning.

[broomsick]

No music sweeter than her voice

Her breath and song

Calling life to fill the soul

Mirth to sustain the mind

And all hearts to beat

Rrhythm beneath the earth.

Hail the healer of the Gods

Holy relief to all sorrows.

[broomsick]

To quote an excerpt:

The evidence has been found in a runic inscription on one of the hoard’s four elaborately decorated silver “ribbon” arm rings, which has only just been deciphered. It reads: “This is the community’s wealth [property].”

Dr Martin Goldberg, NMS’s principal curator of early medieval and Viking collections, said the discovery had been made just as the treasure had been lent to Adelaide in Australia, its first international tour: “We’re spreading the wealth. Everybody owns a bit of this hoard – just like the inscription says.”

He added: “The idea that the wealth this hoard represents would be communally held is fascinating.”

Allow me to repeat the inscription:

“This is the community’s wealth.”

[broomsick]

One of my favorite things we saw during our trip to Iceland was the Njálurefilinn (Njal’s saga tapestry) project at the Icelandic Saga Centre in Hvolsvöllur, Iceland. Started in 2013 by two local women, Gunnhildur Edda Kristjánsdóttir and Christina M. Bengtsson, the project invites the public (and tourists) to sew sections of a 90m tapestry that depicts Njal’s saga. The tapestry was designed by Kristín Ragna Gunnarsdóttir and uses the ancient Bayeux stitch with Icelandic yarn dyed with natural materials using traditional techniques. The project is expected to take 6-10 years!

[broomsick]

Sigurd spake, "None among the sons of men can be found wiser than thou; and thereby swear I, that thee will I have as my own, for near to my heart thou liest."

She answers, "Thee would I fainest choose, though I had all men's sons to choose from."

[ ... ]

Now Sigurd rides away; many-folded is his shield, and blazing with red gold, and the image of a dragon is drawn thereon; and this same was dark brown above, and bright red below; and with even such-like image was adorned helm, and saddle, and coat-armour; and he was clad in the golden byrny, and all his weapons were gold wrought.

The Völsunga Saga, chapters 21-22

[broomsick]

While I'm at it, here are my favorite illustrations from Browne's work

Baldr and Thórr

Iðunn, and King Harald Fairhair's first battle

Nótt, and Sigurðr slaying Fáfnir

Freyja's mighty anger, Sigyn and Loki's plight

Frigg and Loki

Queen Astrid, fleeing after the treacherous slaying of her husband Tryggvi

Ólafr the Peacock meeting Myrkjartan, king of the Irish

The Valkyrjur, hail

[broomsick]

"Then the King, exceeding wroth, put torments upon him, yet still he spoke not, but to cry out for help on Harald. Then Harald, who was now nigh on ten winters old, begged of his father that he would let the man go free, but Halfdan listened not to his son’s prayers. But when time served, Harald himself set the man free, and went forth with him, and they journeyed along together. And at length they came to a place where there was a great feast. And the lord of the feast gave them good welcome, and they abode with him many days. So the spring-tide fell, and on a day, the lord, who was wise in the knowledge of hidden things, called Harald to him and said: 'Thy father is dead; go now thy ways home, and thou wilt get to thee all thy father’s lands, and hereafter thou shalt become the Lord of all Norway.'"

The Book of the Sagas, "The Story of Harald Hairfair" - written by Alice S. Hoffman and illustrated by Gordon Browne

[broomsick]

I wouldn't only be giving away tarot readings; there would be quite a few services I'd offer, such as Oracle readings, Homeric Oracle readings, Greek alphabet readings, sand readings, tea leaf readings, smoke readings, and self-made divination method readings. I want to keep the options diverse and interesting! I've been doing divination for five years now and have a lot of practice reading for others in various formats, though tarot is my most practiced.

Please reblog this poll! I'd like to see how much feedback I could get. c: 🧡

[broomsick]