#Shamanic Giving Practices

[meirimerens]

you know i must have been bone-tired when this part of the herb brides lore didn't come to my mind when i discussed how the Kin fundamentally differs from the cultures it is inspired by um There Is The Human Sacrifice part. like it's an important part of pathologic 2 that you are doing human, or anthropomorphic (if you want to see the Herb Brides as closer to spirits, which comes with its own set of problematics regarding how to approach their oppression) sacrifice. it's an important part of pathologic 2 that you kill a woman, as part of the journey and in direct resonance with you ritualistically killing cattle earlier, and she offers herself to you with cultural and religious significance.

human sacrifices have been done across the globe for millennia, but i cannot, for the life of me, find any source at all that mentions the Buryats (since that was the discussion point) partaking in human sacrifices by the turn of the 19th-early 20th century (or even anything past the 16th). every single source mentioning offerings and sacrifices i've read mentions animals, things such as milk and vodka, and often both at once. would love to read anything about these rituals if papers exist, but i'm personally drawing a blank.

the Kin has Obvious and very Visible influences but it also differs from specific (in this discussion's case, the Buryats) or wider (here, turkic/mongolic as a whole) cultures from the area by so many pieces, big and small, that i wouldn't have enough appendages on my whole body to count them all. and sister. i have plenty of appendages.

[shamanflavio]

You Deserve Nothing

So often, I have clients telling me they believe they deserve certain things in their life now. Although I am very sympathetic when I hear this and understand where they are coming from, I also know that the dynamics of life don’t work that way. Thinking like that only sets us up for more frustration and anger when those things don’t materialize. There is a better mindset that fosters a very…

[shamandrummer]

The Power of Thanksgiving

American poet Henry Van Dyke once said, "Gratitude is the inward feeling of kindness received. Thankfulness is the natural impulse to express that feeling. Thanksgiving is the following of that impulse."

Celebrating a bountiful harvest once a year is a wonderful tradition. But giving thanks should be more than just a yearly event. Rather, the expression of gratitude ought to be a daily practice. Gratitude, like any other spiritual practice, is something we do, not just something we feel. And it is something we need to practice. Try to cultivate a spirit of gratitude in all things. Even in situations that seem difficult to give thanks for, just remember that you are on the Earth to experience, learn and grow. An "attitude of gratitude" in all things helps connect us to our core values and purpose for being here.

Foster a reciprocal relationship of meaning to the Earth. Take time to honor and respect the reciprocal cycle of give and take, for Mother Earth provides everything we need to live and flourish. Express your gratitude through prayer and offerings. Give thanks also for the things you are praying for. Giving thanks before needs are met is a way of making space to receive them. Reciprocity is the guiding principle of the indigenous shamanic path. We can restore balance to the planet. We humans have all the necessary talents to be reciprocal caretakers of Mother Earth. In this season of gathering in, let us bring forth the spiritual fruit of thanksgiving in all things.

[wonderjanga]

Marvel’s Lives

As you guys know, there have been previous champions. They’ve all lived different lives and such. Some have been men, some women, and are some genders that don’t exist anymore. Point is, no one life is the same.

Let’s say some female heroes are talking about abortion one day and out of nowhere Cap just chimes in:

Marvel: “Oh yeah, pregnancy is tough, man. Giving birth is not for the weak. I’m speaking from experience here. Anyone who doesn’t want that, shouldn’t do it.”

Female JL members: “What…?”

Black Canary: “Marvel, last I checked, you were a man.”

Marvel: “Actually, a few thousand years ago, I used to be a woman!”

Female JL members: “???”

Marvel: “I’ve been a woman, multiple times actually.”*proceeds to walk away like he didn’t drop that on them*

They’re all thinking he’s trans, but no? His words imply he’s fluid? The thing is though is that Marvel’s never really shown that he’s either. The question was later asked by Hawkwoman when he was making oobleck in the kitchen of the Watchtower

Hawkwoman: “Captain.”

Marvel: “Yes, Ms. Hawkwoman?”

Hawkwoman: “Are you a woman?”

Marvel: *looks up from his oobleck to her, looking confused* “No? Why?”

Hawkwoman: “Some of the other girls were talking about how you were a woman at some point.”

Marvel: “Ooooh that. I was a woman. Yeah.”

Hawkwoman: “So you’re not anymore. What did you look like as a woman, if I may ask? Also what is that?” *points to the oobleck*

Marvel: “Oobleck.” *offers bowl off oobleck to her for her to play with* “Also, sure. Just a sec.” *mutters a spell*

Hawkwoman: *pokes the oobleck*

Marvel: *poofs and is now a female champion from like seven thousand years ago. His suit also changed to the previous champion’s own suit* “Tada!”

Hawkwoman: *does a double take when she sees him* “You… Certainly have a darker complexion.”

Marvel: “Yeah. If I remember correctly, I lived in the Middle Eastern area back then. That’s probably why.”

Hawkwoman: “And why are you white now?”

Marvel: “My appearance changes every few a hundred years or so. That includes my skin color, gender, and other features.”

Hawkwoman: “Oooooh. Okay then.”

They proceeded to play together with the oobleck after that.

Like ten minutes after that initial interaction…

WW: “Shayera. There you are. I was wondering if you wish to spar with me.” *notices Marvel* “Who is this? A new hero?”

Marvel: *turns around, hands covered in oobleck*

Hawkwoman: *also turns around, hands covered in oobleck* “What’d you say? I was distracted.”

WW: “I was wondering if you wanted to spar with m…” *trails off when she sees Shazam’s lighting bolt on fem Marvel* “Brother?”

Marvel: “Hi, Ms. Wonder Woman.” *waves an oobleck covered hand*

WW: “Why’re you a woman?”

Marvel: “Ms. Hawkwoman asked.” *shrugs*

The three then proceeded to play with the oobleck together.

Then, there was the time someone asked Marvel about his religion when they heard he believed in the Greek Gods.

Marvel: *shrugs* “I’ve been multiple different flavors of pagan. Fun fact, a couple thousand years ago, I used to be a ritualistic cannibal. It was apart of the offerings and rituals of a shaman. Or at least the types of shamans of that time in that specific empire.”

JL member: “Do you still eat people now?”

Marvel: “That’s not important, the point is, if there’s a religion, I most likely at some point practiced it. Or at least the super old version of it.”

JL member: “Okay? But do you still eat people now??”

Marvel: “I guess I’m saying I’m kinda in between religions?”

JL member: “Can you please stop ignoring the questioning ?”

He continued to ignore the question.

Of course, the ritual cannibal thing isn’t the only one of the outlandish things Billy’s casually admitted to doing. Eventually though, things can get a little bit too much for some members.

Marvel: *telling them about another thing he did in a past life*

GL: “Okay! That’s enough, dude!”

Marvel: *concerned* “What? Did I say something wrong?”

GL: “No, I’m just confused as to why you’ve done all these things, man. Are these like side quests you under go? Or like…? What’s going on, pal?”

Marvel: “Nothing…? These are just things I’ve happened to do.” *shrugs*

GL: “So you’re willingly telling me you tried to trample someone to death with a horse just for funsies?”

Marvel: “Well, when you put it like that-”

Flash: “Wait, what about the time you told me you were a princess before princesses were a thing?”

Marvel: “I uh-”

Superman: “And the time you told me that you used your lightning powers to become a cult leader?”

Marvel: “Okay, I get it. I’ll stop tell you guys about myself.”

MM: “Captain, it’s not that we don’t want you to tell us about yourself. It’s instead that your stories seem to have no cause for them.”

Flash: “Yeah! Like why did you feel the need to become a cult leader? How were you a princess?? Why would you want to trample someone with a horse???”

Marvel: *shrugs*

Flash: “Wha- Don’t just shrug!”

Marvel: “I was a different person back then.”

Superman: “That’s a little too cryptic, bud.”

[thejournallo]

Witchy hacks: The movement of your body.

You probably heard this phrase too many times, but it is important to keep your body moving not only to increase your physical health but to improve your mental health too. But there is more. The movement that our body can make can actually release energy, and it can give us a lot of boosts in many ways.

In spirituality, movement is often seen as a way to release, channel, and harmonize energy within the body. Different spiritual traditions and practices emphasize various types of movement to achieve these goals. Here are some ways energy is believed to be released through movement in spirituality:

1. Yoga

a. Asanas (Postures)

Energy Flow: Yoga postures are designed to open energy channels (nadis) and centers (chakras) in the body. This facilitates the free flow of prana, or life force, enhancing physical and spiritual well-being.

Grounding and Balance: Specific poses help ground the practitioner and balance the flow of energy, aligning the body with the earth and promoting inner stability.

b. Pranayama (Breath Control)

Breath and Movement Coordination: Coordinating breath with movement helps regulate and release energy, purifying the body and calming the mind.

2. Tai Chi and Qigong

Chi (Qi) Flow: These ancient Chinese practices focus on slow, deliberate movements combined with deep breathing to cultivate and balance chi, the body's vital energy.

Energy Circulation: Movements are designed to enhance the circulation of chi through the meridians, or energy pathways, removing blockages and promoting overall health.

3. Dance

a. Ecstatic Dance

Expression and Release: Ecstatic dance involves spontaneous, freeform movement that allows individuals to express emotions and release pent-up energy. It’s often accompanied by rhythmic music that guides the flow of energy.

Trance States: The repetitive nature of dance can induce trance states, facilitating a deeper connection with the spiritual self and the collective energy of the group.

b. Cultural and Ritual Dance

Ceremonial Movements: Many cultures incorporate dance into spiritual rituals to honor deities, celebrate life events, and connect with ancestors. These movements are often symbolic, representing the flow of spiritual energy.

4. Martial Arts

Energy Control: Martial arts like Aikido, Kung Fu, and Capoeira involve movements that cultivate and direct internal energy. Practitioners learn to harness this energy for physical strength, mental clarity, and spiritual growth.

Mind-Body Connection: The discipline and focus required in martial arts enhance the mind-body connection, aligning physical actions with spiritual intent.

5. Breathwork and Movement

Holotropic Breathwork: This practice combines intense breathing with movement to access altered states of consciousness and release stored emotional energy.

Rebirthing: Involves rhythmic breathing and movement to release traumas and blocked energy from the body, leading to spiritual healing and transformation.

6. Shamanic Practices

Drumming and Movement: Shamanic traditions often use rhythmic drumming and dance to enter trance states, journeying into spiritual realms to retrieve knowledge and healing.

Ritual Movements: Specific movements in shamanic rituals are designed to summon, direct, and release spiritual energy for healing and transformation.

7. Meditative Movement

Walking Meditation: This practice involves slow, deliberate steps coordinated with breathing, enhancing mindfulness and the flow of spiritual energy.

Dynamic Meditation: Developed by Osho, this form combines vigorous movement, including shaking and dancing, with periods of stillness to release suppressed emotions and awaken spiritual energy.

Summary

In spirituality, movement is a powerful tool for releasing, channeling, and harmonizing energy. Practices like yoga, tai chi, dance, martial arts, breathwork, and shamanic rituals use specific movements to enhance the flow of spiritual energy, promote healing, and achieve higher states of consciousness. These practices underscore the profound connection between physical movement and spiritual well-being.

[my-religion-greek-myth]

Freedom far away - F

Kind of burst my right ear while doing martial arts tonight... And I have an interview tomorrow, great 🙄

Fem Reader X Agatha X Rio

Part A | Part B | Part C&D | Part E

You were not stupid. As Agatha and Rio had told you, you understood what you were feeling toward them. The pull, the strange sense of connection—it was undeniable. You did not understand why or how, but you knew it was real.

The sky stretched above you, a perfect, unbroken blue as if the earlier storm had never existed. You sat on a wooden chair near the garden’s edge, absently watching your younger brother wielding his sword as he played. Well, training, as he often got defensive whenever you referred to it as ‘play.’

"You really have no talent for this," you drawled teasingly, unable to resist.

Your brother frowned, lowering his sword in irritation. "Better than you!"

You stuck your tongue out, laughing at his wounded pride.

"What are you doing out here, anyway?" he asked, his curiosity outweighing his annoyance. "You don't usually come to the backyard."

You sighed, resting your chin on your hand. "To clear my mind. But watching you with that sword only made me more frustrated."

He rolled his eyes, flipping the blade in his palm with a practised motion. "Want to give it a try?"

"And have grandfather lecture me for a week?" you retorted, arching a brow.

"When has that ever stopped you?" your brother teased, his mischievous grin infectious. Despite yourself, a small smile tugged at your lips, but you shook your head in feigned exasperation.

Before you could respond, your sister burst into the backyard, her excitement palpable as she practically skidded to a stop.

"I just came from the market!" she exclaimed, her words spilling out in a rush. "And guess what I heard!"

"A royal visit?" you guessed flatly in disinterest.

"No!" she shot back, shaking her head for emphasis. "You know the shaman who lives near the outskirts well?"

"The one by the shaman tree?" your brother chimed in, his curiosity piqued.

"Yes! Apparently, the shaman is dead!"

You frowned, leaning forward in your chair. "Out of the blue?"

"I don’t know," your sister admitted, her voice dropping conspiratorially. "But from what I gathered, they found the body looking… strange. All dried up, with wrinkles everywhere, and the skin had turned dark brown."

The image sent an involuntary shiver down your spine. In your mind, unbidden, came the memory of Agatha and Rio—their enigmatic smiles, their sharp gazes, and the unmistakable presence of power that clung to them like a second skin. You blinked, brushing the thought aside, but a strange unease lingered.

"Was it natural causes?" you asked, trying to keep your voice steady.

Your sister tilted her head, giving you a questioning look. "I don’t know. No one seems to know."

"That sounds like something out of a book," your brother said, half-joking. "Like when someone dies because their energy was completely drained."

You flinched at the mention, but neither of your siblings seemed to notice. They were too busy launching into another bickering match about the plausibility of such superstitions.

You turned your gaze back to the clear blue sky, your thoughts racing. The shaman’s death, the way it was described—it unsettled you more than you wanted to admit. And the fact that your mind had so quickly conjured Agatha and Rio…

Why?

The evening air was cool against your skin as you slipped out of the house unnoticed. The faint hum of conversation and clatter of dinnerware from within the estate faded behind you, replaced by the soft rustle of leaves in the breeze.

It was not like you had any proof—no solid reason to suspect Agatha and Rio of anything. Yet, the timing felt too coincidental to ignore. The shaman’s death, with its unnatural details, had come so soon after their arrival—or at least, what you thought was their arrival. You realised you did not even know how long they had been in the city. Were they recent visitors, or had they always been here, hidden in plain sight?

Your thoughts churned as your feet carried you toward the outskirts, past familiar streets and into the quieter paths leading to the mountain. You were not sure what you hoped to find, only that you were compelled to go. It felt instinctive; this pulls toward answers—or perhaps toward them.

As the trees thickened and the city lights dimmed behind you, a strange sensation prickled at the back of your neck. You glanced around, but the only movement came from the shadows of the trees swaying gently in the breeze. Still, you could feel them—yellow eyes, glinting faintly in the underbrush, watching you from the depths of the forest.

Animals.

Your steps did not falter. You knew they were only animals, curious and wary of your presence. You had felt that strange connection that seemed to soothe them before. They would not harm you. People were far more dangerous than any predator lurking in the shadows.

The well came into view, its stones dark and worn under the faint light of the crescent moon. The ribbons tied to the shaman tree fluttered in the breeze, their colours muted in the dim light. You hesitated, glancing around, the silence pressing against your ears.

You had to search your memory. The last time you came here, Agatha and Rio guided you to their house. The memory of Agatha’s hand against your back as she gently but firmly steered you forward surfaced, along with the embarrassing recollection of your hand brushing against her lips. Your face burned at the thought.

Focusing, you turned your attention back to the space around the well, scanning for any sign of their path. You had been too distracted then—too caught up in their presence to pay attention. But now you had to rely on instinct, retracing your steps as best possible.

The distant hoot of an owl broke the quiet, startling you for a moment. You exhaled slowly, willing your racing heart to calm.

Think, you told yourself, your eyes scanning the faint trails leading away from the well.

You took a tentative step toward one of the paths, pausing to glance back at the well as though expecting someone to appear and guide you. But no one came. You were alone. For now.

You kept walking, the dark road stretching endlessly ahead, illuminated only by the faint light of the moon and stars. The cold wind brushed against your skin, raising goosebumps as you rubbed your arms absently. The eerie silence around you was broken only by the occasional rustle of leaves, but it did little to quiet the thoughts swirling in your mind.

You were not sure what had compelled you to come out here. At least, that was what you wanted to tell yourself. But deep down, you knew the truth.

You knew what the pull was.

It was not just curiosity or the need for answers. It was them.

Agatha and Rio.

Your steps faltered as the thought struck you again, sharper this time. How could you feel this way? About two people? The very idea seemed impossible, unnatural even. You were never raised to believe in great love, just an arranged marriage that would secure your family’s future and bring honour to your name. And yet, here you were, your heart split in two, each beat resonating with a longing you could not explain.

It is not possible, you told yourself, the words firm but hollow. No one could love two people at the same time—not truly. Not completely.

And then there was the other unspoken truth, the one that made your stomach twist uncomfortably.

They are women.

Loving another woman was a concept you had only encountered in hushed whispers or scandalous rumours, spoken with disdain. But loving two? At once? It was not just impossible—it was unthinkable.

You shook your head fiercely as though the motion could dispel the thought. It isn’t love, you insisted, trying to convince yourself. It CANNOT be love.

But even as you denied it, the truth pressed against your chest, unyielding. Agatha’s sharp eyes, the way they seemed to see through you. Rio’s laughter and teasing wrapped around you like silk. The way they both made you feel—seen, understood, drawn in.

The rustling of leaves pulled you from your thoughts, and you froze. Your eyes darted toward the trees, where shadows seemed to shift and ripple like water. A pair of yellow eyes blinked at you from the underbrush.

A fox, you realised, exhaling shakily. Its gaze was steady and curious, but it made no move toward you. You relaxed slightly, watching as it tilted its head before slipping silently back into the darkness.

The animals did not frighten you. You could feel their watchful presence, their faint curiosity as they observed you from the shadows. But people? People were unpredictable. And the thought of someone—something—lurking in the darkness unsettled you far more than glowing eyes ever could.

Your sister’s words about the shaman echoed in your mind. A dried, withered body, skin darkened unnaturally. It was not a natural death. It could not be.

And if it was not natural, then someone had killed them.

The thought sent a shiver down your spine, your footsteps faltering as your mind raced. Was it Agatha and Rio? Your stomach twisted at the idea. You did not want to believe it. But what if it was not them? What if the real killer was still out here, watching, waiting?

You glanced over your shoulder, the road behind you swallowed by shadows. A flicker of doubt tugged at you, urging you to turn back. But the pull—that strange, unrelenting force—drew you forward like an invisible thread guided your steps.

Again, the memory of Agatha’s touch on your back, the warmth of her hand as she steered you forward, surfaced in your memory like an unshakable echo. And the moment when your fingers brushed her lips. You pressed your hands to your cheeks, trying to banish the thought, but the heat rose in your face regardless.

You paused, scanning the area, trying to search your memory for the way to their house. Now, the quiet surrounded you, pressing against your thoughts as you tried to retrace your steps.

What am I even doing here?

The thought struck you suddenly, sharp and accusing. You had no proof and no reason to suspect Agatha and Rio. Yet here you were, alone in the dark, chasing shadows.

But it was not just suspicion driving you forward. The feeling that had burrowed into your chest and refused to leave. Even as fear prickled at the edges of your mind and doubt whispered that you should turn back, you could not stop yourself.

Despite your initial confidence, a faint tremor of fear began to creep into your steps. The dark forest pressed in around you, the shadows more profound and foreboding with every step away from the city. You had never ventured this far from home at night and certainly not beyond the safety of the city walls.

Though you were not afraid of the animals watching from the darkness, the unknown gnawed at the edges of your mind. The soft rustling of bushes or the creak of tree branches in the wind made you flinch, your heart jumping each time. You kept telling yourself it was nothing—just the wind, just curious creatures—but your nerves refused to settle.

A sharp rustle to your left made you freeze in place, and your breath caught in your throat. You stared into the shadows, half expecting a fox’s curious eyes or a bird flitting between branches. But the darkness offered no reassurance, only an oppressive silence.

And then it happened. A firm hand landed on your shoulder from behind.

You nearly screamed, spinning around as your breath caught in your throat, but your voice froze when your gaze met familiar, piercing blue eyes.

"Agatha!" you exclaimed, your voice shaky and louder than you intended. Relief and shock flooded you all at once.

Agatha’s face was unreadable, but her eyes flickered with something—was it worry? Before you could place it, her expression hardened.

"What are you doing here?" she snapped, her tone sharp and almost scolding.

Her voice startled you, and you stepped back, still reeling from her sudden appearance. "I…" You stammered, struggling to find your words.

Agatha’s hand fell from your shoulder, but she did not step back. Her gaze bore into you, her jaw tightening. "Do you have any idea how dangerous it is to wander out here alone at night?"

Her words stung, not because they were untrue, but because they mirrored the thoughts that had already begun creeping into your mind. You straightened your posture, trying to regain some semblance of composure.

"I—I could ask you the same thing," you retorted, though your voice wavered.

Her brow arched, the corner of her lips twitching as if fighting the urge to smirk. "Oh, doll, I’m not the one trembling in the dark like a lost kitten."

"I’m not trembling," you said quickly, though you could not stop the slight tremor in your hands.

Agatha’s sharp eyes scanned you, lingering just long enough to make your cheeks burn under her scrutiny. "Why are you here?" she asked again, her tone quieter but no less demanding.

You hesitated, the weight of her gaze pressing against you. "I… wanted answers," you admitted finally, your voice softer now.

"Answers?" Her head tilted slightly, her wavy hair catching the faint light of the moon. For a moment, the sharpness in her expression eased, replaced by something softer, though no less intense. "You couldn’t wait until morning?"

You glanced away, the reality of your impulsive decision sinking in. "It could not wait," you murmured, your fingers twisting nervously in the fabric of your dress.

Agatha let out a sigh that sounded almost amused, shaking her head lightly. "Always with the questions," she muttered, though her smirk softened the words. "You do know, doll, that demanding answers at every turn can be quite… exhausting?"

You frowned, her teasing tone pricking at your pride. "I am not demanding anything," you said, though the heat in your cheeks betrayed your embarrassment. "I only want to understand."

Agatha’s lips curved into a knowing smile. "Of course you do," she said lightly, her sharp gaze flicking to the well in the distance. "But understanding doesn’t always come when called. Sometimes, it likes to play coy."

"You’re lucky it was me and not something else that found you," she added, crossing her arms as her smirk turned sharper. "Honestly, doll, you must have a death wish."

Before you could muster a response, the faint rustling of footsteps reached your ears. You froze, your pulse quickening.

"Ah, and here she comes," Agatha murmured, glancing over your shoulder with a knowing smile. Her voice dropped just enough for you to catch the faintest edge of a joke. "Speaking of death."

Your confusion deepened as Rio emerged from the shadows, her green robe fluttering slightly in the breeze. Her dark eyes gleamed with amusement, catching the moonlight as she took in the scene.

"Well, well, what do we have here?" Rio teased, her voice light and melodic. "Did you get lost, pretty lady?"

Agatha let out a soft chuckle, the sound low and teasing. "Careful, Rio. You might scare her with that entrance of yours."

Rio’s brow lifted, her lips curving into a sly grin as she tilted her head toward Agatha. "Scare her? Why, I’m the most charming thing she’s likely to meet in these woods."

"Charming is one word for it," Agatha replied, her smirk deepening as her eyes glinted knowingly. She turned back to you, raising a brow. "Now, do you have more questions for us, or will you let us guide you before you get into more trouble?"

You opened your mouth to respond, but Rio stepped closer, her gaze shifting to you as her smile softened. "You’ve been wandering far too long, my lady," she said, her voice dipping into something gentler. "Let us guide you the rest of the way."

"Have you been watching me in the dark?" you asked, your voice sharp as you turned your gaze to Rio. Her teasing words about finding you felt too pointed, too deliberate.

Rio’s lips curved into a sly grin, her dark eyes gleaming with mischief. "Perhaps," she said, her tone light and infuriatingly nonchalant. "You are rather hard to miss, my lady, wandering about like a little lost lamb."

Before you could retort, Agatha let out an exasperated sigh, her hand resting on her hip as she cast a glance toward Rio. "Don’t flatter her, Rio. I don’t have time to babysit."

The words hit you like a slap, indignation surging through your chest. "Babysit?" you repeated, your voice rising in anger. "I am not a child, Agatha!"

Agatha turned to you, one elegant brow arching as a sharp smile spread across her face. "Then don’t act like one," she shot back, her voice calm but cutting. "You’re the one wandering out here in the middle of the night, in the dark, without any plan or thought for your safety."

Your cheeks burned, but you refused to back down. You lifted your chin slightly, meeting Agatha’s sharp gaze. "I’m here because I want the truth," you said, your voice firm despite the unease curling in your stomach.

Agatha’s lips curved into a faint smirk, her sharp gaze softening into something more thoughtful. "The truth?" she echoed, her tone tinged with amusement. "Always so bold, doll."

She glanced toward Rio, who was watching with an expression somewhere between amusement and curiosity, before returning her attention to you. "Fine. But not here," Agatha added, her voice gentler now as she gestured toward the path ahead. "Follow us."

Without waiting for your response, Agatha turned on her heel and began walking toward the path leading to their house. Rio followed with a low chuckle, glancing over her shoulder to beckon you forward. Swallowing your frustration, you trailed after them, the indignation still simmering in your chest.

As you passed through the gate, the world shifted around you. The air grew warmer, the oppressive chill of the forest replaced by a strange, comforting stillness. Above, the sky was a dazzling expanse of stars, their light reflected in the shimmering surface of a lake that seemed to stretch endlessly to your left. You could not help but pause, your breath catching at the surreal beauty.

"Still amazed?" Rio asked, her tone playful as she noticed your wide eyes.

Agatha made a soft sound of amusement, waving her hand dismissively. "It’s just a house," she said, though the slight tilt of her lips betrayed her enjoyment of your awe.

They led you inside, where the warmth of the surreal environment wrapped around you like a blanket. Agatha motioned for you to sit, and as you sank into the plush chair, she stepped forward. With a graceful flourish of her wrist, a purple haze swirled around her hand, her striking blue eyes shifting to a vibrant, glowing purple. The air shimmered faintly as a cup of tea appeared in her outstretched hand.

"Drink," she said simply, holding it out to you. Her tone left no room for argument, though her expression softened. "It’ll calm your nerves."

You hesitated, your eyes flicking between the cup and her glowing hand. "How…?"

Agatha’s lips twitched into a smirk as she withdrew her hand, the purple haze dissipating. "Magic, doll. What else?"

As you sipped the tea, its warmth spreading through your chest, you felt your nerves settle just enough to find your voice again.

"The shaman," you began hesitantly, watching their reactions closely. "She… died recently. The way it happened—it doesn’t seem natural."

The words left your lips more sharply than you intended, but you didn’t notice the slight shift in your speech. Normally careful and deliberate with your words, the strain of the moment—and their piercing gazes—left little room for propriety

Agatha’s expression didn’t falter, but her eyes darkened slightly, the faint glow fading into their usual blue. Leaning casually against the edge of a nearby table, Rio tilted her head as though considering your words.

"And you think we had something to do with it?" Agatha asked, her tone neutral but her gaze piercing.

You hesitated, unsure how to answer. "I… don’t know," you admitted finally. "But it’s strange. And it happened right after—"

"After we appeared?" Rio finished for you, her grin sharp and wolfish. "A curious coincidence, isn’t it?"

Agatha sighed, tucking a stray strand of hair behind her ear as she moved to sit across from you. Her movements were deliberate and measured, and her voice softened, almost too calm. "The world is full of strange and terrible things, doll," she said.

Rio’s grin widened, her gaze playful but unwavering. "If you’re asking, no, I didn’t kill your shaman."

Your stomach churned, their answers unsettling you further. "Then why did it happen?" you asked, your voice quiet but persistent. "Why would anyone… do that to the shaman?"

Agatha’s eyes narrowed just slightly, a flicker of something passing through them—was it annoyance? Or something darker? "The world is full of hunters," she said, her voice smooth and almost dismissive. "Some hunt for food, others for power."

The cryptic nature of her reply tightened your chest. "Power? What kind of—"

"Enough," Agatha cut in, her tone sharp but not unkind. She tilted her head, her piercing gaze locking with yours. "Do not dwell on the whys of something you cannot change."

Rio’s laugh broke the tension, light and melodic, as she shifted her stance, leaning more comfortably against the table. "Listen to Agatha, pretty lady," she said, her voice teasing yet firm. "The world is too messy to tie into a neat little bow. Let this one go."

Your frown deepened. Their evasive words only unsettled you further. A gnawing unease crept into your chest, but before you could press them, a heaviness began to pull at your senses. The tea’s warmth seemed to thrum in your veins, the edges of your thoughts blurring.

"Sleep, doll," Agatha murmured, her voice taking on a strange mix of tenderness and command. Her words seemed to echo in your mind, wrapping around your thoughts like a lullaby.

You wanted to protest, to demand more answers, but the exhaustion of the night and the weight of their presence were too much. Your body betrayed you, and your eyes fluttered shut, the world fading into a haze of warmth and violet-tinged darkness.

When you awoke, the faint light of dawn filtered through your familiar window. The soft rustle of the morning breeze was a stark contrast to the surreal calm of the night before. For a moment, you lay still, your mind struggling to reconcile the warmth of your bed with the vivid memories of Agatha and Rio’s house.

You sat up sharply, your heart pounding as your eyes darted around the room. Everything was as it should be—your belongings, bed, the morning light streaming in—but something was different. The air still carried the faintest trace of their presence, like a whisper you could not quite hear.

Your fingers brushed against the sheets, and you frowned, a small question burning in the back of your mind: Had it all been real? Or had it been a dream?

[astra-ravana]

⛧Introduction⛧

Hello, my name is Astra. I am 32, female, an Aries, and I have been practicing solitary, eclectic witchcraft for the better part of the last 20 years. That being said, I feel like I've been a witch my whole life. It just took me some time to pin down exactly what it meant.

I primarily practice a combination of Satanic/traditional witchcraft but I visit a lot of other types of magick in my work. I read tarot, throw bones, and other forms of divination including astrology, work with many spirits, make sigils, grimoires and art magick, practice necromancy, blood magick, hedge-riding, spellcrafting, scrying, dreamwork, weather magick, shamanism, and work with the fae and other entities.

My main spirit mentor and companion is King Paimon and we have worked together for quite some time. He is, amongst other designations, the Lord of Familiars. He is selective about who he works with, but his adepts have a knack for connecting others to spirits that resonate with them. I do this often for people. I can channel him under certain circumstances and he empowers my magick. Paimon also loves music and we listen together often.

I work with many spirits/deities/entities and have had the experience of meeting even more. Common faces in my work are Lilith, Lucifer, Bune, Asmodeus, Hekate, Medusa, Melinoe, Ptah, Morrigan, Cernunnos, Arachne, Seere, Ronove, Dantalion, Nyx and many more. I love spirits and gravitate towards the ones others seem to fear.

Magick is my LIFE and I love to learn about it and pass on my knowledge. I enjoy teaching my craft to others. I also love the paranormal, animals, crystals and stones, art, music, and philosophy.

If you want to learn random knowledge about demons, spirits, witchcraft, etc. give me a follow and feel free to message me with any questions or inquiries.

Masterlist

Masterlist Pt. 2

Buy me a book?

[hagoftheholler]

Been thinking about closed practices today, and why many (white) people reject the concept. Aside from general entitlement and never being told "no" before, it's evident to me that many white people (especially white Americans, but still white people in general) never really grew up in an environment where they were taught there are rules and standards to religion/spirituality/magic. Or, they grew up in an Evangelical upbringing and were taught to reject everything that wasn't "Christian"... so they want something else (that they can't/shouldn't have).

The idea of there being rules, a social or spiritual hierarchy in anything related to magic/religion/spirituality is foreign. It scares people. So they attempt to find loopholes. Why go find a genuine priest(ess), rabbi, elder, granny or any other person in the position to give them answers and teach them when there are books written by white "shamans" "gurus" "voodoo priests" etc? It's not like those books are ever going to tell them lies, right? /sarcasm

Committing to a closed practice requires too much... well... commitment, for these people. The idea of reaching out to a person that can actually teach them, initiate them (if required), etc... The process of it all... Too much for them, somehow. And even if it's something that requires a little more than teaching and initiations, they still don't wanna hear it.

[laurenwalshart]

Druids, Shamans, Monks, and Naturalists: The Distinction of Nature Magic Users in Warcraft

As a Druid roleplayer I run into this question a lot “why can’t my mage be a druid?” “Why can’t x be a druid?” To be honest I get it. The distinction between nature magic users in the universe of Warcraft (Naturalists/Green Mages, Shamans, Monks, and Druids) can be extremely confusing especially when they also have a lot of overlap and no clear canon guides like most TTRPGs do. It can feel like you are getting a “No” with a confusing explanation behind it. As you dive into each of these versions of Nature magic users there is a clear distinction between them. Once broken down it comes down to two things 1)How you get your power and 2) what goal your character has/what goal they serve.

Shamans The main goal of Shamans is to bring harmony to the elements and to serve as spiritual leaders in their communities. This is done through the use of totems and the elements of Spirit or Decay to commune with the Elements or bind them to servitude and access the Elemental Plane. It’s likely through this bond with Spirit that they are able to transform into a ghost wolf and access other planes of existence to commune with their ancestors.

Their distinct traits are the following:  Goal: Creating harmony or disharmony with the Elements and Spirits Source of Power: Using totems or Spirit/Decay to commune with or bind the Elements and tap into the Elemental Planes, or commune with the spirits of the land or their ancestors.

Monks Monks are the masters of Chi or their inner Spirit and the self, making their journey a very personal one outside the bounds of say protecting Pandaria. Receiving boons from the August Celestials, which are Wild Gods and bound to the Dream, may give them some access to the flowing spirit of the Emerald Dream and lead to the appearance of their magic being a Jade/Emerald color. There is some evidence to support that the Dream is “near’ in Pandaria based on the Faerie Dragon Sprites in the Jade Forest which are a clear sign of the Dream being “near” and the rare encounter Nuoberon in the 10.2 Dream patch where a Pandaren child dreams up wild things into existence in the Dream.

Their distinct traits are the following:  Goal: Creating harmony and balance with your inner spirit and mastering the self. Source of Power: Chi, the mastery of the self and inner spirit, the August Celestials/Wild Gods/Loa, and possibly the Emerald Dream (see Jade Forest).

Naturalists/Nature Magic Users Some of our best examples of Naturalists come from the Valewalkers, Naturalists in Suramar, the High Botanist Tel’arn, and Shen’dralar Milicent Serene and her Naturalist experiments. From the High Botantist Tel’arn we learn that his power is achieved through the use of Arcane, Light, and Nature which also lines up with what we’ve learned in Palawltar’s Codex of Dimensional Structure that magics anchored to one or more magic types makes them more stable. Everything done by Naturalists seems to be through standard mage/arcane means through their more Orderly understanding of magic.

Their distinct traits are the following:  Goal: Entirely up to the user. In some cases it is mastery of the art, seeking knowledge, or experimentation. Source of Power: Everything is through Knowledge of Order magic/Arcane and tethering one or more magic types like Light and Arcane.

Druids These shapeshifters are caretakers of the wilds. They have strong bonds with the Wild Gods/Loa, Nature, and the Dream. All of the cultures that practice Druidism are bound to the Wild Gods in some way through worship or curses. One of their main tenets is to maintain the balance, a delicate equilibrium of the cycle of life and death. All of the current races that can play as them have extremely close ties with the Earth, the Dream, or the Wild Gods/Loa. Even the Drust, which at first seems to be an outlier, are connected to the Dream and Thros, the Blighted Lands. Much like how the afflicted of Gilneas were able to learn how to become Druids because of their previous knowledge of “the Old Ways” after essentially being bound to the Wild God, Goldrinn, and there by the Dream via the Worgen curse, so too are the Kul Tiran Thornspeakers through their same Gilnean understanding of the Old Ways and their bloodline connection to the Drust and Thros. Their distinct traits are the following: Goal: Maintaining the balance of nature and the cycle of life. Source of Power: Connections to the Wild Gods/Loa, the Emerald Dream, and the Spirit of the land (see previous posts on Spirit magic in nature).

Overlap and Distinctions As we can see many of these classes have some overlap in a few areas. 

Connections to the Dream and Wild Gods Both Monks and Druids have varying degrees of connections to Wild Gods and the Dream. While a Monk is not as directly tied to the Wild Gods and the Dream like Druids, they are present forces in one way or another in Pandaria. The distinction between these two classes then is in how they access their power and their goals.

A Monk while possibly influenced by or receiving boons from an August Celestial (Wild God/Loa) and the Dream does not directly gain their power from them like a Druid, rather it is from the harmony and balance of their own spirit. Another example of this is the Zandalari; their racial allows for boons/buffs from the Loa, but this does not make all of them Druids. The goals of Monks reflect this as they appear to be personal ones or aiding the personal goals of their people or others. In contrast the goals of Druids is specifically in maintaining the balance of nature and the cycle of life. 

Shapeshifting Ability Both Shaman and Druids have some sort of shapeshifting ability in game, however, one is incorporeal and the other physical. The Shaman ability then might be a transformation of their body into pure Spirit as is not bound to any specific Wild God, more of a manifestation of one’s spirit like with Wild Shape in Ardenweald. Whereas Druids after being bound to a specific Wild God/Loa are able to take on the physical form of spirit they are bound to or hold a totem or relic of. 

Use of Arcane and Light Druids and Mages both use forms of Nature, Arcane, and Light magic. As discussed before, Mages approach to Nature magic is through the lens of Order magic and the Arcane. Druids still use the Arcane in some Balance spec spells, but it is distinctly named “Astral magic” which is defined as a combination of Nature and Arcane. We can assume then that Druids are accessing Arcane magic through the pathways of Nature, similar to how Sunwalkers (tauren paladins) access the Light through their devotion to An’she.

Connections to Spirit and Decay Druids, Monks, and Shamans all share a connection with the element of Spirit and their “darker” counterparts inversely with Decay.

The easiest way to think about these connections to the element of Spirit and Decay is based on the class - Monks are in tune with their own inner Spirit or Decay, Shamans are in tune with the Spirit and Decay linked to the Elements, and Druids are in tune with the Spirit and Decay linked to nature and wildlife. 

Monks very clearly have a link to Spirit through their use of Chi. The inverse of this and their manifestation of Decay may be the Sha which has ties to the Old Gods and possibly madness (see my previous post on The Nature of Memory Magic). Shamans are easy as well since Spirit is one of the elements and Shamans may use it to commune with the elements and access the Elemental Planes and Dark Shamans use Decay to bind and enslave them. Druids also have access to the element of Spirit through its flow through nature and the Emerald Dream (see my previous post on The Nature of Memory Magic). Obviously for life to be in balance Druids must walk a fine line between Spirit and Decay, but out of control Decay in Druidism presents as the Nightmare and Thros/the Drust. You could also make the argument that the Druids of the Flame is Spirit out of control, but that’s for another paper on another day.

A quick little fun addon after my exploration of teleportation, memory, and Spirit in my previous post on The Nature of Memory Magic, this connection to this element of Spirit may explain how Monks are able to cast Zen Pilgrimage, Shamans are able to Astral Recall, and Druids are able to cast Dreamwalking.

All of this lines up with what we recently found in Palawltar’s Codex of Dimensional Structure. Each one of these classes have their connection to Spirit, Decay, and Nature magic, but they are all from different pathways to access that power. Once again proving that it’s how the magic is acquired that makes you one of these classes in a similar way to Clerics, Sorcerers, Wizards, and Warlocks in D&D 5e.

I hope this exploration of how these four nature magic users are distinct and how they intersect is helpful to you. Aside from the workload of making a bunch of new assets for Druids to be available to all races it seems to me that there is a need for a culture to have some sort of deep connection to the Dream or Wild Gods/Loa for them to access that ability. I do find it interesting that Druidism only seems to occur on Azeroth. We do see Shamanism on both Draenor and Argus, but curiously no form of Druidism. It seems that only the native races of Azeroth (Tauren, Trolls, and subsequently Night Elves) and those cursed to be bound to the Dream or Wild Gods (the Drust and Gilneans) have access to this ability. Races that are alien to Azeroth, descendants from Titan constructs afflicted by the “curse of flesh,” or those that were altered by Order (the High Elves and Nightborne) all lack this ability or pathway to Druidism. I’m interested to see if Blizzard ever explores this, perhaps in future patches with Elun’ahir and the Harronir. If and when they do I’ll be fervently exploring the topic. The Nature of Memory Magic As always my intention is never to police the roleplay of others, but rather to provide more canon centered explanations for those interested

[saltlakris]

Sápmi and Norways relationship is quite complicated.

Sápmi was the one to first discover him; a little boy, barefeet in the chilly wet tundra. Without hesistation he brought him into his lávvu, a traditional sami tent, where he clothed and fed him. Sápmi is quite nostalgic about this time and will tell any unfortune soul with an ear to lend all the stories about young Norway.

"I could barely get any work done! He would sometimes wrap around my leg and simply refuse to let go, haha!"

However, eventually Scandinavia reached the northermost parts of the Norwegian territory and after a brief but violet confrontation Sápmi would be forced to give up the young boy to the much larger and stronger Scandinavia. This was when Norway joined up with Denmark and Sweden. After this, Sápmi would sometimes approach him when he was alone, making sure he was always well-fed and properly clothed, teaching him valuble lessons about nature and spiritualism. The influence of sámi shamanism together with norse mythology is one of the reasons why Norway can see and speak with spirits.

After having gained independence from Denmark in 1814, Norway finally had his own constitution. In this period of time, the young nation fixiated on creating a Norwegian identity due to technically being under Swedish control. He wanted true independence, but he knew this could only be achieved through establishing a strong Norwegian nationalism throughout the population. This is where he and Sápmi would butt heads.

Norway hoped to integrate Sápmi into modern society, leaving behind the "hedonistic" lifestyle that the Sámi people lived. In his still immature mind, why would anyone choose living in a lávvu and the physically straining task of hoarding reindeer through the unforgiving tundra over a house, education and stable income? After Sápmi outright refused, he saw no other choice than to reinstate a harsh policy to Norwegianize the Sámi people by removing their culture, language and religious practices, sometimes by violent measures. This policy would last until the 1960s.

This is a part of Norwegian history that Norway regrets immensely today, and he has taken many measures in order to assist Sápmi in rebuilding his people's culture and language... Now that he is more mature, he has realized that:

"In the land of Norway, there is space for all kinds of people and culture."

[nrdmssgs]

Idk man but like bondage with Nikto but he's in a mood and he's just overwhelming you both emotionally and mentally because he knows how powerless it is to be tied up. I. Need to be spayed.

Masterlist

"Sokrovishe*?"

Your palms, pressed together, are sweaty and cold. Contrary to that feeling, a heat runs up your neck and face. One wave after another. You try to fight the panic off, but it only grows. What if this all really was a bad idea? What if he loses control, what if one of the others comes in the light. You're certain, he won't ever hurt you, but what makes you so sure about them being on the same side. Do they sympathize you? Do his other voices even know you?

You thought it over, fantasized, craved. You asked for this. For many times. And now, your body is in a desperate state of an overdrive despite Nikto having just undressed you and tied up your wrists. The dim lights around grow weaker, the room starts spinning lightly.

"Sokrovishe?" His voice takes the pieces of your scattering mind back together. You suck in a breath and look around. Return to him, to this room, on this bed, where you kneeled for him.

You turn back and meet his eyes, looking down on you. His gaze travels down your back, as Nikto is weighing his options, planning, assessing. He's not in a hurry, a couple of times a short chuckle escapes his lips and hits his mask that muffles every sound. You wonder if he watches his targets on the battlefield like that? Calculated and calm in every his motion, yet clearly amused, intrigued by how long can his prey stay so oblivious.

You try to explain, that you haven't changed your mind, and you still want him to... finally do all these pretty things, he's been whispering in your ears for so long. But you are able to cough up only an indistinguishable babbling, so he commands you to turn away.

You look right before you and almost immediately feel the bed dipping under his weight. Turning your back to a wild cat is practically asking to get attacked. Turning your back to whatever animal this man right now is may turn out a dangerous carelessness.

You feel his fingertips meeting your skin and swallow audibly. His touch does not linger on your arm, fingers running up to your shoulder, sending shivers to your back. Niktos grip on your shoulder is soft, yet inescapable. Other hand falls on your chest and pushes lightly, guiding you to lean back on his broad body.

"Breathe for me, ok?" And he guides you through a few cycles of breathing until your mind and heart stop racing. It's only then when you truly come back to him, relax.

He didn't need just a doll to tie up and fuck mercilessly - he needed your complete trust. And as soon as you give it to him - you feel a smooth double rope covering a line across your chest for the first time.

Nikto is delicate, almost too delicate for a man, who knows too many ways to harm someone so badly, they do whatever he wants them to, suffer an ungodly amount of pain and still live through this. But with you, it's another matter: you're not a target - you're a promise, a faint hope for the possibility of a real life, payment for all the horror he had experienced. Your body is not an instrument - it's a treasure. There's an invisible map, he drew on you long time ago. And now he covers a line after line, he imagined on your skin all this time, with ropes, marking every important point with perfect knots.

He commands you to take a deep breath in and you start feeling it in your shoulders and across your chest, what he planned for you. He binds you tight just enough for you to realize: Nikto is not trying to just immobilize you - he is putting pressure, enveloping you in an ornament that makes you finally let go of fears. You're protected, treasured, taken care of. This must be, how ancient warriors felt, when their shaman drew his secret signs with scarlet clay on their bodies.

The absolute trust should be preserved. And Nikto weaves his spells around your body, breathes in unison with you, whispers praises. He pulls the knot, moving your hands up, but it doesn't scare you, that he has the power over your movements now. You don't feel like a puppet - you feel like a weighless bird, leaning on warm wind streams. Your fingers are sprawled feathers, you don't really cry or mule - you sing your bird song in his arms. Nikto listens carefully to your body and gives you exactly what you needed.

A comfort of not being in charge, a sanctuary of turning into something simultaneously more and less than your body. Rope coiling around flesh, hugging it firmly, stiffening and stretching with your breaths. A bliss of being his.

Sokrovishe - treasure

[blasphemousclaw]

*spots another Vengeance-Seeking Hornsent fan through looking at the tags in fav SoTE NPC poll* I am still seeing "he was a potentate himself because of the mask" claims here and there 😔 I honestly think he is wearing the mask for its actual function: to ward off the doubts and other things that make you lose focus, since he must keep his mind fixed on revenge. Besides he comes from Belurat and not Bonny Village (revealed if you share scorpion soup with him) and his trademark weapon implies he only grabbed a sword for revenge and didn't wield weapon before, let alone their butchering knife

These are just what I think. What do you think about him and the "discourse" though? Do you lean strongly to this or that side or neutral on both takes?

HORNSENT NATION

OK so I was always kind of kind of torn between whether I believed he was a greater potentate or not, but I was leaning towards him being a potentate… BUT then after you sent this I went on a deep dive to see if I could prove either theory, and what I found really made feel like he WASN’T a potentate???

I went through like every possible source of info in the game and listed all the possible interpretations so I’m gonna list a bunch of it here with my conclusion:

Bonny Butcher’s Cleaver: “An outsize butcher's cleaver used to dismember human bodies in the making of the great jars stored in the gaols.”

Hefty Cracked Pot: “The greater potentates of Bonny Village craft these and store them in a frozen gaol.”

From these items we learn that the jars are exclusively made at Bonny Village from dismembered shamans, are transported to the gaols, and stored there under freezing temperatures probably so the innards don’t spoil, like a giant fridge?? Then, we learn from the Belurat Gaol spirit that misbehaving prisoners are added to the shaman jars there, where their flesh “melds harmoniously” together. So the greater potentates only operate at Bonny Village, and I think it’s also implied that only Bonny Village natives are potentates:

“A record of crafting techniques of the greater potentate who roamed lands near and far. Haunted by the grotesque practice of his village of birth, he stuffed great pots with all manner of things.” (Greater Potentate Cookbooks)

It seems like being a greater potentate is kind of like, a family business, since the practice is strictly localized to the one village and this particular guy was basically born into the profession there even though he found it ghoulish. So I’m doubting that outsiders from other places became potentates?

If Hornsent is a potentate, he’d probably have to be from Bonny Village, or at the very least, live there… and like you said, I think the game is screaming that he’s from Belurat! Freyja has this to say about him:

“Do you know why the eternally dour fellow keeps his distance? He’s one of the tower’s Hornsent. I can only assume he fights for his own reasons, and carries his own burdens.”

I feel like this almost certainly means that Hornsent is from Belurat because Freyja specifically says “the tower.” Freyja and Hornsent are also standing right in front of the Belurat gate when you get this dialogue. There’s also the scorpion stew interaction with him:

Scorpion Stew: “Scorpion simmered in a black soup. Traditional meal of the hornsent. […] Once made with love by a certain elderly woman for the family table. Having long gone cold, this soup gives off a rank, sour smell.”

Hornsent says this when you give it to him:

“What’s this? Do you think me in need of alms? Ah… but this dish. Tis fare o’ the tower. I remember fondly this kin-clad scent. …Brings back memories I’d all but forgot. This, by my troth, is but a dismal copy. Indeed, I think it rather plain to see… things once broken can never be the same.”

So I don’t think scorpion stew is exclusive to Belurat by any means, since there’s many other Hornsent settlements, but I think it means something that Hornsent immediately thinks of the Tower when he sniffs the stew. I also think that him pondering this theme of “things once broken” makes the most sense in the context of Belurat… you can give Hornsent the stew only after traversing all of Belurat, beating Divine Beast, and talking to Hornsent Grandam, so you’ve seen Belurat’s ruins with your own eyes and learned that it was once a place where families cooked and ate scorpion stew together. That really resonates with Hornsent’s vengeance in the name of his murdered mother, wife, and child! Him having lived through what happened to Belurat personally just makes sense!

Ok so why does Hornsent wear the potentate mask??

I think you’re right that he’d only be wearing it for its ritual purposes:

Caterpillar Mask: “Grotesque mask constructed from countless solidified caterpillars. A ritual implement of the greater potentates of Bonny Village. Used to ward off thoughts of impurity, doubt, temptation, and other wickednesses one is vulnerable to while absorbed in divine ritual.”

Makes sense that potentates would want to banish any feelings of doubt or temptation or any other distractions when their job is to kill and dismember people… which is a sentiment that absolutely applies to Hornsent’s goals as a vengeance-seeker. Also, the jar-making is described as a “divine ritual,” and the act of seeking revenge also seems really ritualistic? Hornsent’s robe is created specifically for the purpose of vengeance:

Braided Cord Robe: “Ragged black cloth overlaid with braided cord. Attire of a vengeance-seeking hornsent. The braided cord ties together the vow of the revenger with the victims' grudges. It must never come undone. Enhances both watchful spirits and the vengeful spirits summoned by horned bairns.”

Does this not feel like a sort of ritualistic, divine invocation of revenge? Hornsent also forges new blades specifically for his vengeance, and repeats the phrase “In vengeance for the flames, my blade I wield” several times, like a mantra. Thematically, I think Hornsent wearing the potentate mask is drawing a link between the Bonny Village butchering, and the endless, bloody path of revenge that eventually leads Hornsent to ruin; both of these acts are in a way like ritually-sanctioned butchery. So while Hornsent might not literally be a potentate himself, the game wants us to THINK of the ritual violence that the potentates carry out when we look at Hornsent!

So overall I don’t think any of these arguments can like, 100% definitively prove that Hornsent wasn’t a potentate because there’s a few assumptions I made that teeeechnically might not be true (like that only Bonny Village natives are greater potentates, or that “the tower” always specifically refers to Belurat), but I now think that it makes the most sense if he isn’t a potentate!

[thevixenwitch]

Cernunnos - A Confusion of Aspects

Introduction

This was supposed to be a simple bit of research that I was going to do as a devotional act to Cernunnos, but over the course of the night I kept encountering the same dead ends that pointed to the same singular source of misinformation. So do not expect this to be entirely objective.

Let's begin with a simple question: Who is Cernunnos?

A Gallic deity, with difficult to trace roots. Depicted sparingly, there is debate on whether or not various depictions can actually be attributed to him. Particularly, one of the most famous supposed depictions – the Gundestrup Cauldron – has been theorized by Celtic scholar John Matthews to depict a Shaman and not the god himself, according to his book The Celtic Shaman. Depiction variation and debate is not uncommon in discussion of older religions and cultures, particularly when Romanization and Christian censorship were at play. Not to mention Wiccan appropriation and repurposing of beliefs without regard for earlier context.

Others have made fantastic deep dives into potential depictions and discussed them at length, and I am no historical scholar, so I have little to add in this case. I highly recommend the essay The gods of Gaul: Cernunnos by @mask131 [1] for a piece regarding depictions through history.

Upon reading the previous essay, I was inspired to dig deeper into Cernunnos, from historical contexts to meditating on my own UPG via my connection with him. My own connection with him was something that happened casually over time, ranging from dreamlike interactions to conversing directly through divination. I am an incarnate Fae, and worship him as the King of the Fae, in addition to other aspects and epithets such as:

Cernunnos

King of the Fae

Master of the Sacrificial Hunt, The Horned God, and other Wiccan Concepts

Master of the Wild Hunt

Pan

The Green Man

Herne the Hunter

This list is influenced by a resource post of druidry.org[2], but I will be researching each of these titles for further insights into their sources and how they do or do not connect to my own practice ahead.

[1] mask131, Tumblr

[2] https://druidry.org/resources/cernnunos - this is not a reliable resource

^ Cernunnos depiction on the Gundestrup Cauldron

Cernunnos

As learned in the previously linked essay, the name “Cernunnos” originates from the “Pillar of the Nautes” or the “Pillar of the Boatmen”, where the name is placed directly above a depiction of an antlered figure on the Block of Four Divinities[3] alongside the deity Smertrios. Many Gaul artifacts can be found in French museums. The Pillar of the Boatmen is attributed as a Roman-era inscription[4], so that gives us only enough information to hypothesize.

My takeaway from this is that the name Cernunnos is a modern approximation because of lacking, provable historical records, but rather serves a purpose as a modern placeholder. I came across information claiming that worship of Cernunnos as a deity was brought into modern belief by neo-pagans and popularized by Wiccans, particularly through Margaret Murray’s writings. During her studies of folklore in the early 20th century she put together a Witch-cult hypothesis that stated how a variety of horned deities were aspects of a “proto-horned god”[5]. In addition, this belief was adopted by Gerald Gardner and formed the basis of the concept of the Horned God within Wicca.[6]

“Sometimes also known as Carnonos, his name has firm Proto-Indo-European origins. It stems from the PIE word *k̑r̥no-, and is thus cognate to Germanic *hurnaz and Latin cornu, all meaning “horn”. In the Celtic Gaulish language, this word was karnon, and the connection with the name of Cernunnos is clear - it reflects the deity’s stag antlers, growing from his head. Thus, Cernunnos literally means “the horned one”.”[7]

Gallic history is sparse and difficult to pin down due to a lack of written records or literature. Multitudes of visual depictions dating from the Roman era have been attributed to Cernunnos by Archaeologists, having been retrieved from northern Gaul. These depictions are hypothesized to be this deity or others of similar archetypes. In addition, sites tend to use the words “Gallic” and “Gaelic” semi-interchangeably, despite the regional difference. Gael meaning a Celtic tribe from modern Ireland-Scotland, and Gaul meaning a tribe located in modern France. There is speculation that Cernunnos was a proto-Celtic deity, and could have had roots in any or all Celtic practices and beyond, but that is speculation because there is a lack of evidence to support the theory in any substantial direction.

[3] Name sourced from Athena Review, Vol. 4, No. 2, which also sources Huchard, V. (ed) Archéologica. 2003. “Le Pilier des Nautes Retrouvé. Histoire d’une Métamorphose.” Dijon, France. Éditions Faton S.A

[4] An observation attributed to Hatt, Jean-Jacques who recorded that the artifact was originally erected in 1st century AD.

[5] Margaret Murray, The God of the Witches

[6] Kathleen Sheppard Forced into the Fringes: Margaret Murray’s Witch-cult Hypothesis 21 April 2017

[7] According to Aleksa Vučković via ancient-origins.net

^Cernunnos's face as depicted of the Pillar of the Boatmen

King of the Fae - UPG

This title is predominantly UPG and relates to my own existence as an incarnate fae.

I find him similar but above other more location-based wild gods, beings like boar lords, and other guardians and rulers of nature. There is a loose hierarchy within fae politics, for lack of a better word, that is predominantly power based. Not as in subjugation over other beings, but rather quantified by expanse of control or domains. Finding the words for this section proves difficult, but he is simply above all of us, with a connection to all Fae. Cernunnos does not view himself as better than any of his subjects, he is not preoccupied with anything like that.

Does this title equate him with the concept of Oberon? No, I don’t believe so. He also exists outside of the seasonal courts, as he goes through a physical shift with the seasons instead of remaining in one form.

Master of the Sacrificial Hunt & The Horned God

Many modern depictions and associations with Cernunnos took their form via Wicca, as previously mentioned. The now heavily discounted Witch-cult hypothesis led to the adopting of the name as a common main aspect of Wicca’s concept of the Divine Masculine or the Horned God that absorbed many horned deities into one being, losing their individual status and becoming “aspects” of a central pillar. This is a theme often seen within Wicca and expands to their depiction of a central Divine Feminine deity as well, the pair often referred to as The Lord and The Lady. This is a simplification that I do not agree with. The epithet “Master of the Sacrificial Hunt” is unable to be sourced beyond the previous essay on Druidry.com and a repost of the same write-up on witchesofthecraft.com, so this title isn’t possible to verify. Although, mentions of Cernunnos identify him as a being that has a seasonal cycle of death and rebirth, which this epithet may be indicating. This belief appears to also have its basis within Wicca and lacks historical evidence. To quote from Wikipedia, “Within the Wiccan tradition, the Horned God reflects the seasons of the year in an annual cycle of life, death and rebirth

and his imagery is a blend of the Gaulish god Cernunnos, the Greek god Pan, The Green Man motif, and various other horned spirit imagery.”[8][9]

While I am large proponent of UPG, I do not abide by stating such concepts as strict facts. I will explore this further in future sections.

[8] Farrar, Stewart & Janet Eight Sabbats for Witches

[9] Doreen Valiente The Rebirth of Witchcraft pg 52-53

^The plaque I'm sure we've all seen in our local metaphysical store

Master of the Wild Hunt

The Wild Hunt is a concept that permeates the history of many European cultures, including the Celts.[10] Myths of Wild Hunts would most often include a central figure flanked by hunters all in pursuit of some kind of special quarry. Within Germanic legend, the mythical figure is often Odin, but there were many other figures that have been featured across cultures and belief systems, sometimes historical and other times religious. The hunters were often depicted as fairies, the souls of the dead, or otherwise inhuman participants. Witnessing the spectacle as a mortal was thought to bring calamity[11], death, or abduction to magical realms.  The concept and term were popularized by German author Jacob Grimm, originally as Wilde Jagd.[12]

This mythological concept existed in various aspects of Germanic and European folklore, across multiple cultures. Despite this, the lack of Gallic literature means that we are unable to directly connect Cernunnos to any historical uses. The prevalence of this type of myth, though, presents the obvious opportunity to incorporate our modern understanding of him into the framework to explore our own UPG. This is a topic I may meditate on further if I do further research into the concept of the Wild Hunt.

My own personal experiences with the concept are much more play oriented. If you’ve ever been to a Beltane festival, you probably know the heady feeling of being chased through the woods before being caught and celebrating the season. This interactive ritual-made-game is a fun staple you may find on the schedule of any fertility event these days meant to drive up sexually charged, excited energy. It’s a simple enough concept to incorporate into any individual practitioner’s holiday plan, if it suits your preference. Especially as a Fae, I find the concept of the Wild Hunt to be something fun to engage in with a special partner or community, and find no harm in inserting anyone into the role of Master of the Wild Hunt, as the prevalence of the format leaving the form of individual story to expand into a genre.

[10] Stith Thompson (1977) The Folktale University of California Press pg 257

[11] See, for example, Chambers's Encyclopaedia, 1901, s.v. "Wild Hunt": "[Gabriel's Hounds] ... portend death or calamity to the house over which they hang"; "the cry of the Seven Whistlers ... a death omen".

[12] Deutsche Mythologie (1835)

^Johann Wilhelm Cordes: Die Wilde Jagd (The Wild Hunt)1856/57

Pan

The conflation of Pan with Cernunnos appears to be predominantly based in the view of all male horned deities being simple aspects of a larger presence – the Wiccan Horned God. As previously stated, I do not support that concept and will use this section to study Pan as a separate entity and cover where in my UPG they overlap.

Pan is the Greek god of the wilds, music, and a guardian of shepherds and their flocks. He also was usually in the presence of nymphs.[13] Unlike the Stag depictions and associations of Cernunnos, Pan sported the legs and horns of a goat and appeared similar to a Satyr. His domain expanded to agricultural and wooded areas, as well as the realms of sex and fertility. The sum of those parts was to present him as a god of the season of Spring. He had a Roman equivalent in the god Faunus, and was also conflated with another known as Silvanus at times. Pan became a popular god during the 20th century neopagan revival[14].

Even before that, worship of him was brought back by a festival originating in Painswick, Gloucestershire by Benjamin Hyett, who also constructed various holy places in the god’s name.[15] Other popular occultists of the early 1900’s such as Aleister Crowley also crossed paths with Pan, as he built an altar to the god and wrote a ritual play about him.[16] After that point, his image and general description was absorbed into the Wiccan Horned God concept after Margaret Murray’s The God of the Witches posed the idea that he was simply one part of an overarching whole.

But who was Pan outside of this, particularly who was he before the Witch-god hypothesis altered how future generations would see him?

Pan is considered by some scholars to be a reconstruction of a Proto-Indo-European pastoral deity[17], as well as Pushan, a god originating from Rigvedic that also shared goat traits.[18]

Beyond these source hypotheses, there is evidence that Pan was first worshipped in the mountainous, isolated area of Arcadia. In that area, if a hunt wasn’t satisfactory, disgruntled hunters would scourge, or whip, the statue of Pan.[19] At this time, there were no formal temples to Pan, and worship was instead pursued in woodlands and other natural spaces. While exemptions from this rule did exist, they were few and far between.[20] He predates the Olympians, like many Grecian nature spirits. I won’t go too in depth regarding direct mythology, as its difficult to do that with the Greek pantheon without tangents.

Pan was viewed as a height of sexual prowess, and agricultural success. He had a history of dalliances with Nymphs, to put it lightly, often depicted as being controlled by his lust and anger. Such as in the myth of the Nymph Echo, whom he ordered killed when she denied any man. In some versions, the pair even have two children, or perhaps chose Narcissus over him, no matter the variation he is usually painted as rash and jealous. I’m sure we’ve all seen that statue of Pan and the goat that resides in the National Archaeological Museum in Naples.

The word “panic” can trace its sources back to him, but I was surprised to find that “pandemonium” does not.[21]

In my personal view, Cernunnos ages with the seasons, being at his most virile in the Spring, then maturing into his form as a guardian of the dead come winter, appearing dead himself. This is relevant in that I find the depictions of the lustful, energetic Pan to be inspiring of how I see that Spring form. Beyond that, the agricultural and animal connections are similar, but seem to take very different forms upon closer inspection.

Within actual historical context, there doesn’t seem to be anything connecting Cernunnos and Pan in any way beyond neo-pagan labelling.

[13] Edwin L. Brown, "The Lycidas of Theocritus Idyll 7", Harvard Studies in Classical Philology, 1981:59–100.

[14] The Triumph of the Moon: A History of Modern Pagan Witchcraft, Hutton, Ronald, chapter 3

[15] Hutton, Ronald. The Triumph of the Moon: A History of Modern Pagan Witchcraft pp 161–162.

[16] Soar, Katy (2020). "The Great Pan in Albion". Hellebore. 2 (The Wild Gods Issue): 14–27.

[17] Mallory, J. P.; Adams, D. Q. (2006). The Oxford Introduction to Proto-Indo-European and the Proto-Indo-European World. Oxford, England: Oxford University Press. p. 434

[18] H. Collitz, "Wodan, Hermes und Pushan," Festskrift tillägnad Hugo Pipping pȧ hans sextioȧrsdag den 5 November 1924 1924, pp 574–587.

[19] Theocritus. vii. 107

[20] Horbury, William (1992). Jewish Inscriptions of Graeco-Roman Egypt. Cambridge, England: Cambridge University Press. p. 208.

[21] Coined by John Milton in his poem “Paradise Lost” coming from the Greek pan- “all” and daemonium “evil spirit”

^Mask of the god Pan, detail from a bronze stamnoid situla, 340–320 BC, part of the Vassil Bojkov Collection, Sofia, Bulgaria (It is shockingly difficult to find art of Pan where he's not rock hard.)

The Green Man

Viewed as more of a motif or concept than a deity, the Green Man originated in England and was usually depicted as covered in leaves and sometimes armed with a club. One might encounter these visuals in parades, festivals, or painted on the signs of many pubs come the 17th century. This changed with the introduction of Julia Somerset, who claimed in the Folklore journal that the design often seen on church walls actually had pagan origins as some kind of fertility deity.[22] There is no evidence to support this claim, and it has been contested by many folklorists.[23] This assertion by Somerset was then absorbed into the Wiccan Horned God despite being described as distinctly “20th Century Folklore”.[24]

That’s pretty much the extent of this one and was honestly one of the most shocking to read about. The Green Man was at best a regional icon used in local festivities but was never any kind of deity. That title was misrepresented and incorporated without research.

My personal association would be the visuals of Winter, but Cernunnos’ Winter form appears very differently to me. More skeletal stag, less old man with a holly beard.

[22]  Centerwall, Brandon S. (January 1997). "The Name of the Green Man". Folklore. 108 (1–2): 25–33.

[23] Livingstone, Josephine (2016-03-07). "The Remarkable Persistence of the Green Man". The New Yorker.

[24] Olmstead, Molly (2023-04-08). "Is the Green Man British Enough for the Royal Coronation?". Slate.

^A sign for the John Barras Pub Company

Herne the Hunter

After the last section, it is a relief to move on to something that has always been presented to me with its original fictional context intact. Herne the Hunter was a character originally depicted in The Merry Wive of Windsor written by Shakespeare in approximately 1597. Supposedly, Herne the Hunter is an antlered spirit that occupies the Royal Forest in England, occupying himself with tormenting cattle and rattling chains. While the character may have been based on local legends to some degree, it is unknown just how much verifiable connection has ever existed. Attempts to connection him to other deities or legends were made often after he was written.

There is an old tale goes, that Herne the Hunter (sometime a keeper here in Windsor Forest) Doth all the winter-time, at still midnight Walk round about an oak, with great ragg'd horns; And there he blasts the tree, and takes the cattle, And makes milch-kine yield blood, and shakes a chain In a most hideous and dreadful manner. You have heard of such a spirit, and well you know The superstitious idle-headed eld Receiv'd, and did deliver to our age This tale of Herne the Hunter for a truth.

— William Shakespeare, The Merry Wives of Windsor, Act 4, scene 4

Despite Herne being a location-based character appearing only in the areas Windsor Forest occupied, certain books published in 1929 and 1933[25] attempted to identify him with Cernunnos and other horned deities. This is again the connection through which Wiccans incorporated Herne into the Horned God.[26]

[25] The History of the Devil – The Horned God of the West by R. Lowe Thompson; The God of the Witches by Margaret Murray

[26]  'Simple Wicca: A simple wisdom book' by Michele Morgan, Conari, 2000

^Illustration of Herne the Hunter by George Cruikshank (1840s)

Romanizations

There are theories mentioned in mask131’s essay regarding attempts at identifying what Roman deity or deities was meant to be the equivalent of Cernunnos, but there is sadly only speculation on that front. Opinions vary from person to person, but parallels are often drawn to Dis Pater and Mercury for shared traits. I did find instances such as the Lyon Cup and an altar from Reims that feature Mercury and Cernunnos depicted side by side, so I believe it is safe to say that they were at least at some point considered fully separate beings.

^1st-century CE altar from Reims with Cernunnos, accompanied by Apollo and Mercury. Mercury has a cornucopia, while Cernunnos spills grain.

Aside – Misinformation is Rampant

This one book, this one fucking “hypothesis”, changed the entire face of what would eventually become modern neopaganism. The damage of the Witch-cult hypothesis is far reaching and permeates every resource I could find while writing this piece aside from the explicitly scholarly. It is extremely discouraging how quickly you can trace something that feels off back to this one woman’s massively disproven theory that was adopted by a man that wanted to make a religion based on occult foundations because he admired ceremonial magic. The frustration I feel as someone trying to do research now after this misinformation and pseudohistory has seeped into every aspect of the path has me constantly on edge and second guessing everything I read until I can find a source.

Stating UPG as undeniable fact that others must agree with isn’t great at the best of times, but the sheer level of ignorance to historical record seems to be running rampant within the modern Pagan community. I’m all for believing something unverifiable, something that’s only true for you, or for the world from your perspective, but there is and must be a difference between that and presenting easily disproven statements as unbreakable law, especially with they come hand in hand with any dressings like, “this is actually true because I was told so by this person, who learned from this other person.” And the process is traceable to the source they borrowed from and how it was completely disproven.

We must think critically within paganism, research beyond the books with flashy covers in Barnes & Noble and question the things we are told by others are just the way things are.

Your relationship with the gods is yours alone and can take any form you want it to. Don’t let yourself be trapped by ignorance. Learn about historical contexts, question sources, seeking mentoring from those who revel in your questions and help you find the answers.

Conclusion

Cernunnos is a deity that is beyond valuable to communicate with directly due to the lack of concrete historical and folkloric information, and the prevalence of blatant misinformation that uses his name. Context is important, and even if you choose to exist outside of it, which is a perfectly valid choice, it should be a conscious one.

In addition, while attempting to research this, I actually stumbled upon sites not just with AI generated cover images, but what fully appeared to be AI generated writing. Be vigilant against information that looks like someone just skimmed the surface and made an assumption, this page had a lot of almost correct or just flat out made up information that contradicts historical fact. Especially in this modern era where people use automatic programs to make summaries of summaries for a game of unverifiable internet telephone, be aware. No matter what your personal stance on AI is, I'm sure we can all stand against information atrophy.

To me, Cernunnos is a supportive, ever-present god that helps me through things in his own way, meaning that its usually something intense and then coming out the other side putting out a fire on the back of my head. He's hands-off, and wants me to admire the turning of the seasons from new angles. He's opened my eyes to a deeper respect for other belief systems, and encouraged me to do this research so that I could better understand him as well as our own connection. He wants me to be observant and always keep learning and questioning and growing in my faith, in my magic, in my role as a faery.

When it comes to the belief systems that you rely on in life, ignorance is not bliss. Seek knowledge deep in the forest and on the frozen boundaries of a lake or standing barefoot in a grassy meadow, but also in historical records. Anyone who wants the best for you will want you to research and learn more.

Genuinely as I was finishing this up last night, adding this section to the post version the next morning, I considered becoming a YouTube essay person. Maybe someday! Perhaps an actual blog. Researching and writing this kind of thing was actually very fun. I never even did something like this while I was in school, so maybe I'm just not traumatized by the concept. Anyways, I hope this was informative and you enjoyed a peek into the journey I took while putting this together.

Now I'm gonna go light up some green in dedication to Cernunnos ✌︎︎♡⃛

^The Lyon Cup, sometimes identified as Cernunnos

[girls--complex]

I just came upon your blog and it's given me Lots of Thoughts, even though I don't particularly believe in any God (that is to say, I think there might be something more out there, though I don't think it's God as it's portrayed by any religion and I need some sort of tangible evidence before I can confirm or deny that something like that exists. All that to say I'm agnostic lol), but I do think you have some very good points about a lot of things.

I find it kinda hard to understand some of the things you write since you use a lot of long and complicated words that aren't in my vocabulary since English isn't my first language and I've never left my home country, but I'm doing my best! (With the help of an online dictionary)

Either way, I really love your art and I'm taking some inspiration from your style to practice, if that's okay with you! I just really like how flowy, creative and loose it is and I really need to loosen up a bit about making things instead of constantly adding more detail and perfecting it until I lose interest because it becomes stressful instead of enjoyable to create something.

I also wanted to ask, since according to your comics you've done shrooms before, how would you recommend going about shrooms to someone who's not used to doing much of any substance? (I barely drink alcohol and I smoke weed so rarely every time I do it I end up extremely disoriented until I manage to calm down no matter how little I smoke).

I'm asking cause a friend of mine whom I've known for years recently told me they have some, and that he'd be willing to share them with me, and I'm curious about trying them out and seeing if I can learn something from that experience, but I wanna stay safe while making the most of it :3

Hi thank you for a long & thoughtful message

YOU ARE ALWAYS ALLOWED TO COPY OR "STEAL" OR WHAT EVER FROM MY DRAWINGS seriously this is so normal and allowed. I do this with other cartoonists and all the cartoonists I know also do this. We do it to each other. "I like how she draws eyes" or whatever and we absorb it into our own style. Or just copying drawings/ paintings/pages. This is good. Do it.

Thank you for taking the time to decipher my words. I know I use lots of large/obscure words N trying to get better at making me language accessible (& maybe use my beloved obscure words in enough context that a reader can figure out the meaning).

I think using psychedelics is something better to talk about with people who know U in person and can respond to your needs and goals. Maybe your friend can give some guidance or knows someone who has a shamanic streak that can. Or you can always go on erowid or reddit whatever kids are using now to do a lil research.

I don't really feel comfortable giving specific advice or even general advice that might color the experience in a certain way, hope u understand...

Thank u for saying Hi

[formlines]

Medicine Drum

Joe David

from the website: ‘Medicine Drum‘ – The Drum has been part of every culture on earth, prominent at one time or another. For our native people the drum represents the heartbeat. It is believed that the inside of an actual long house represents the inside of a whale. The large beams and planks of wood representing the spine and ribs of a whale, while the drums are considered its heartbeat and the songs represent the spirit of the whale.

Drummers are known to congregate and play individual hand drums together. The use of a single drum was traditionally isolated to a few groups, such as the Kwakwaka’wakw (Kwakiutl), who are known to have used a single wooden plank struck by multiple players. As in other regions, the drum is used to begin and to mark certain points within a song. Some indigenous people of the Northwest Coast utilize the drum to indicate the presence of spirits. For example, a tremolo created by rapidly striking the drumhead can be perceived as an audible manifestation of a spirit being’s presence. Aside from use within the potlatch setting, drums are employed by shamans—powerful individuals who have the ability to move in the liminal space between this world and others, communicating with spirit guides. Many of the musical instruments used on the Northwest Coast can be associated with shamanic practice. Often, a physical representation of a shaman’s spirit guide is carved in the form of a rattle or whistle, as an effigy used to invoke the spirit’s power.

The Native Symbol or Totem Eagle is known as “The master of skies” and is a symbol of great significance. He is believed to be the creature with the closest relationship with the creator. By soaring great heights, he can travel between the physical world and the spiritual world. He is said to be a messenger to the creator. Unlike the raven’s ability to send messages down, the eagle sends messages and prayers to the Creator. If an Eagle was seen during a Prayer session it was a sign of having a prayer accepted If a prayer needed immediate attention from the creator an eagle feather would be held up towards the sky. Although every part of the eagle has separate and significant meanings, the Eagle as a whole signifies focus, great strength, peace, leadership and incredible prestige. The wings of an eagle symbolize the balance and co-dependency between females and males, and how each gender must work unitedly in order to achieve harmonious results. The eagle feather plays a substantial part in religious and shamanic practices and ceremonies. The feathers were only allowed to be worn by people who had earned the privilege. For example warriors that had done extremely well in battles would have a feather rewarded to them. The eagle feather transmits strength; it gives the ability to speak honestly from the heart, without hurt or anger. The middle vane in the feather symbolizes the path that every man walks in their life time, and every barb that comes of the middle vane symbolizes the choices we all have in life, and that every choice we make is attached to the middle or main path that we take. Eagle down is scattered in entrances as a friendly welcome when people of great importance come and it is also often used in dances. Besides being a member of many different clans, every descendant from the Northwest Coast First Nations belongs to either a Raven or Eagle Clan. The membership is always defined by which clan the individuals mother belonged to.

The Moon lightens the darkness of the night and is known as the guardian of the earth at night and the night-time protector of humans. Moon is a symbol of power and was traditionally used to show prestige. Full moons are credited with providing direction, vision and guidance. He signifies height as a sign of status. The Moon has the ability to change our moods and thoughts.

The Moon was the exclusive crest of only a few of the highest ranking chiefs. Northwest coast First Nations legend tells us of the Raven who is said to have released the Moon into the sky. The stars are pieces of the Moon that flung off when Raven threw it into the sky. An eclipse was said to be a Codfish trying to swallow the Moon. In order to prevent this, a bonfire was set with green boughs to add smoke. As people danced ceremonially around the fire, thick smoke rose to the sky causing the codfish to cough and spit out the Moon. When the people saw the Moon appear at the edge of the mountain they would drum to bring the Moon higher into the sky.

[talonabraxas]

Ehecatl : God of Winds

Ehecatl: Ignite your Passion

Ehecatl-Quetzalcoal (Ehecat) is the Aztec God of invisibility and intangibility who oversees the mysteries of passion and love.

In order to fully understand adult love one must experience loss in a personal manner. This takes place at all levels in our life. Last week the day Winds of Spirit arrived by UPS, I experienced a few losses as well: the front gates which house my former Healing Arts Center were stolen; my boss who provided the space to write the book took a new job at another company; and a tenant is leaving. Winds seek balance, and intensity will always swing towards disappointment or lethargy, then back again.

Seeds of passion sometimes grow in the ashes of disappointment, and later blossom into fragrant spring lilies. Like the wind, love, passion and relationships are also mysterious forces.

Aztec cosmology is built on the framework that there are five suns. Each sun represents a creation story in which humans are born, sustained and destroyed by the elements of nature; earth, wind, fire, water, and earthquake respectively. Ehecatl is one of the many faces of the Quetzalcoatl, the famed feathered serpent deity. In Nahuatl, Ehecatl means four winds, referring to the four cardinal directions.

Ehecatl presided over the second sun of creation that was called, “4 Wind.” During this period, human beings fell from the grace of the Gods and were destroyed by a hurricane. As Ehecatl blew, it swept away the debris, and those who survived were transformed into monkeys. Ehecatl reappeared in the Fifth Sun after the world was destroyed by fire.

Ehecatl traveled deep into the underworld and persuaded Mictlantecuhtili, the God of Death, to give back some ashes and bone. Ehectal mixed the bone with blood from the Gods and created humanity.

According to Aztec legend, Ehecatl snuck into the lower world, abducted the maiden Mayahuel, and brought her to the middle world. Their passion was so great that they became one and merged into a tree. Upon awaking from sleep Tzetzimutl journeyed to the middle world, pulled the lovers apart, shredded her grand daughter Mayahuel into pulp, and then returned Ehecatl to his rightful place in the wind.

”Whenever the wind blows, the Aztec believes it is an expression of Ehecatl’s desire.”

If Ehecatl appears as a longing East wind, it is time to listen closely to your heart.

East

If Ehecatl appears as a longing East wind, it is time to listen closely to your heart. New projects, new lovers, art and/or music will ignite your passion.

As a contrary wind, Ehecatl can remove worn-out love stories and soured memories that are preventing you from experiencing a new cosmic order in your life. It is time to examine your beliefs regarding love.

South

Ehecatl is fanning the flames of your innermost feelings and hidden desires. A willingness to love again will arise from the ashes. You are worthy of love and passion. Allow the mysterious thread of the universe to carry you into the next cycle.

Unlike Ehecatl, who was molded from a stone knife, you are an emotional being who thrives on love. In the contrary position, a howling Ehecatl is prompting you to open your heart to love. There is a wind-stirring deep within asking you to soften your heart in order to forgive those who have harmed you. Now is the time to heal the emotional scars left behind by abuse, loss, or abandonment.

West

Ehecatl brings the rains to nourish your crops, signaling the end of the dry season. Wash away your inhibitions, and rejuvenate your body with physical activity. Celebrate by dancing, hiking, gardening, swimming or sex.

When Ehecatl appears in the reverse position you are being offered forbidden fruit, so be alert and cautious. The sun may set on your goals if you merge with the wrong energies, as in the tale of Ehectal and Mayahuel.

Misguided passion and intrigue might pull you from your true path if you do not establish clear boundaries. Ask Ehecatl to help you to sweep away any blocks that stand between you and a bountiful harvest.

North

When Ehecatl blows in from the North, it is a sign that invisible forces are at work in your life. A soul mate isn’t necessarily your lover; it might be someone who has your back, no matter what troubles you may be facing. Enrich your life by connecting deeply with the people you love, and with those who have your best interests at heart.

In the contrary position Ehecatl points out that you are neglecting certain daily rituals which prevent you from keeping your spiritual life in order. Ask Ehecatl to help you understand the deeper aspects of your true self. It might be something as simple as rearranging your altar, planning a vacation or going on a spiritual retreat. Ehecatl : God of Winds ART: Corazon Mexica @MiCorazonMexica

The creation of bats. This is a new painting, which is part of a cycle of paintings that tell the story of the birth of flowers. It begins with Quetzalcoatl, who is the wind and creation, pleasuring himself on the banks of a river. His seed falls upon a stone, and from the stone is born the first bat. When the bat emerges from the stone, he asks it to go to Tamoanchan, the 12th heaven, and bring him back the “flower” of Xochiquetzal, who is love and flowers. The bat is thus the child of the wind and of the earth, and the story goes on to describe this theft, and describe the origin of flowers and menstruation.