#Shani Oates

[musingmelsuinesmelancholy]

Musings on titles and definitions

I've been listening to Radical Elphame and BiblioSophia. The interview they did recently with Marshal and Austin and the interview Biblia Sophia did with Shani Oates (my god that was fascinating) got me thinking about how we define and title the things we practice.

Why do we specify traditional witchcraft? Is there a difference between witchcraft and trad craft? What exactly is folk witchcraft?

I know we have all heard that tw is used to distinguish from Wicca; but I don't honestly think that's accurate. I know Cochrane disliked Wicca and did consider what he was doing diametrically opposed to Wicca. I do think the two are different, but are really different enough to define trad craft as non-wiccan witchcraft? I don't think so, we use similar tools, laying a compass is similar to casting a circle (having done both I have noticed differences), Sabbatic Craft works with Divine Male/Female pairings. No, I would think that its more accurate to describe tradcraft as non-new age witchcraft. When I see people complaining about wiccans, I find that often, not always, what they're actually complaining about is New Age! Both trad craft and wicca used similar ideas/material in their inceptions, it just seems like it was interpreted differently. They certainly are two different approaches to the craft but in the same way I do not think it would be helpful to describe a Baptist as a non-Catholic Christian, even though that is true, I don't think it's helpful to describe tw as non-wiccan witchcraft. Most trad witches would probably describe witchcraft as the art of trafficking with spirits, becoming like them and the practice of malefica. So why not just call ourselves witches? Imo it is because, generally speaking, the popular idea of witchcraft is more along the lines of energy manipulation, manifestation, angel numbers 'intentions' and tends to conjure up images of crystal healing, eclecticism etc and/or tends to be use as term to describe magic in general with no specific definition. (Not that there is anything wrong with that it doesn't matter what other people do, so as long as it isn't racist or appropriative). There is certainly still some conflation with wicca and witchcraft, but I don't think it's as bad as it was and therefore do not see the need to specifically set us apart from wiccans.

However, I do think wiccans and trad crafters approach the craft differently. (generally speaking!) I feel that the trad craft approach is more about connecting to rediscovering or reinvigorating the culture/traditions of a certain place. This often leads to a dual-faith observance, as our idea of witchcraft came to be in the context of Christianity. When I was wiccan, it felt more about re-inventing and reclaiming witchcraft and participating in a religion which, at the time, I felt made up for the lack of feminine/nature-based spirituality. We have different founders of course, Cecil Williamson, Robert Cochrane, Gardner, Valiente (though I think she was involved in both currents). The two trads evolved differently. Shani Oates said in her BiblioSophia interview "It [Wicca] is something that has no cosmology, and no end times. So, it doesn't have an eschatology, it just exists in its own creation, in its own bubble. Whereas The Clan of Tubal Cain and Robert Cochranes development of that very much has a cosmology and an eschatology, so it's a full rounded thing." I disagree about Wicca not having cosmology, the god/dess and belief in rebirth/Summerland's would be cosmology, no? I'm sure different traditions have their own too, which the public may not be privy to. The rest resonates very well with me and why I am drawn to trad craft specifically. Before I continue, I want to say in this I am comparing and contrasting my own experiences in wicca and tradcraft. I was wiccan for a while. I am not attempting to diss the religion as a whole, there's much about it that I appreciate! I can only speak on MY OWN experiences and in no way am trying to speak for or on wicca as a whole. I absolutely felt that wicca 'existed in it's own creation' during my time as one. It did not engage with culture or folklore. It had no connection, as far as I am aware, to a cosmology or eschatology that had evolved over time/within a certain culture or religion. (this is not a problem per se and I am generalizing). Trad craft gave me a way to connect to existing cosmologies which had connections to the land, the cultures and the histories I was drawn to. (local ones + my ancestors). I felt that I had more "scaffolding". What I was searching for, when got into spirituality, wasn't a re-creation or re-invention of a pagan/witch faith but rather connection to land, culture and its people. I didn't want to re-invent these things, I wanted to appreciate with and engage with them as they are. That isn't to say that a wiccan can't blend their religion with local or ancestral lore/culture or incorporate an outside cosmology into it.

This brings me to folk witchcraft. I'm seeing this word used more and I have a lot of feelings. I would think that a folk witch is one who is practicing the witchcraft of the area they live in or is one who has been brought into a living folk tradition. Can you call yourself a folk witch, if you're one such as myself? Raised in a white homogenous consumerist culture. No language passed down, no folk tales, very few folk customs retained. I seek out the lore and traditions of my state and of the cultures of my ancestors. I use folk spells. but who are my folk? folk magic is community based. I can't call myself a Canadian, French or Scottish folk witch, even if all the magic I did came from those cultures. I don't live in any of those places. I cannot claim those cultures. I suppose, as the lore of my state is a part of what I do, I could call myself an INSERT STATE NAME folk witch. But, again, who are my folk? The old French-Canadian culture that was once here is all but gone. Not that we don't have a distinct culture of our own anymore! We certainly do.

I like how Marshal described trad craft as "loric" as opposed to folkloric. The lore/history of Europe and America do inform my understanding of witchcraft, but folklore is regional! One cannot say their craft is based on European or American folklore. Who's folklore? Which countries? Which states? "loreic" is specific enough to imply that the lore of witchcraft shapes what one does while not claiming that one is part of a folk trad they have no connection to.

Certainly, one's craft being a melting pot of ancestral and local lore(s) while having to navigate practicing on stolen, colonized land, is very American in spirit.

Edit: Forgot to mention this! Honestly the biggest difference between trad craft and wicca is the "astral sabbath" I never encountered mention of a "sabbath" (I don't like the word tbh due to its antisemitic origins. I propose the use of Conclave instead?) as a nonphysical, spiritual event within Wicca. If you've spent any time in the trad craft sphere, you'll know it's a main focus of what we do. Idk if wiccans place emphasis on spirit initiation either. I didn't learn of the term until I got into traditional witchcraft.

[thevirginwitch]

Ramblings on Trad Craft/"Cochrane's Craft", The Clan of Tubal Cain, and Shani Oates

I am so ready to break out of posting "witchcraft 101" content and moving on to more esoteric/occult-related topics. More specifically, I want to start sharing more about all the deep-dives I find myself in these days. So, here are some ramblings about Robert Cochrane, Shani Oates, and "traditional witchcraft" (Cochrane's Craft).

I've been reading a lot on trad craft (Cochrane's Craft) lately, and digging deep into some academic articles and arguments about what trad craft really is about. Some folks argue that it's Wiccan, or a Wiccan offshoot, but others (namely, Shani Oates) argue that it's a more gnostic, Luciferian practice.

My theory? Cochrane wanted people to *believe* that it was more esoteric/gnostic in nature, when in reality, he and his coven practiced something more akin to Wicca behind closed doors. This would make sense considering he bashed Wicca and Gerald Gardner so hard in the past; he would be embarrassed to admit that 90% of his craft came from Wicca.

It's either that, or, Shani Oates highjacked the whole thing and is trying to spin it into something that it never was. To my knowledge, she's the only one purporting the idea that Cochrane's Craft couldn't be further from Wiccan ideology - which is also a valid theory, considering most of her works and writings are almost incoherent babblings where she tries to sound as sophisticated as possible. I can tell she uses a thesaurus religiously. Not to mention her ideas seem to be very influenced by apocalyptic, almost right-wing conspiracy theories. Trying to read through Tubelo's Green Fire is very difficult - I'm only about 20 pages in, but I have to constantly go back to reference other materials just to figure out what she's talking about. She claims a lot of historical "evidence" that tie into traditional witchcraft's beliefs/practices, but... no sources are cited, and half the time the language she uses makes it literally impossible to Google and figure out what she's referring to.

A few months ago, when I was barely getting into trad craft, I actually communicated with Shani directly - and she really tore into one of the main books that *she* contributed to about the subject (Genuine Witchcraft is Explained). She claimed that the other contributors completely high-jacked her work, took things out of context, etc. And then went on to advertise me her own books that she authored herself. A bit odd in my opinion, but, nonetheless, I am trying to get my hands on a copy of Genuine Witchcraft is Explained, but it runs about $200 on eBay and it's out of print. So we'll see how that goes.

Anyway, if you enjoy reading my occult/esoteric content and would like to see more of it, consider supporting my Patreon. Funds from Patreon help me purchase books and materials, and allow me to spend more time reading and researching.

[toxicrants]

Currently all of 3 pages into Shani Oates' 'Tubelo's Green Fire' and already I remember why I put this down the first time.

She really goes for it with the thesaurus and just flies from one thing to the next, even within the same paragraph. Not to mention claiming all these different cultures had myths about 'angel' creatures mating with humans but just names a load of random cultures with no in depth analysis nor references.

[arcane-offerings]

Shani Oates. The Devil's Supper. Montréal: Anathema Publishing, 2021. Paperback edition. 275 pages.

Shop link in bio.

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[linillinil]

I asked SnapchatAI to write up an argument for using the Hail rune for shapeshifting practices, specifically with wolf spirits in the Norse context. These thoughts have been supported by Shani Oates’ book Wolfs-Head.

I’m surprised to say that it isn’t horrible.

-

The Hail Rune & Hamramr

The Old Norse rune poem describes the rune Hagalaz as being associated with hail, which can be seen as a symbol of destruction and chaos. However, some scholars have suggested that the rune may also represent the transformative power of change and upheaval, making it a good candidate to represent the wolf in the Norse context.

The wolf was an important symbol in Norse mythology, representing both danger and protection. The god Odin was often depicted with two wolves by his side, named Geri and Freki, who were said to be his constant companions. The wolf was also associated with the god Tyr, who sacrificed his hand to the wolf Fenrir in order to bind him and prevent him from destroying the world.

The concept of hamramr, or "shape-shifting," was also an important part of Norse mythology. Warriors were said to be able to take on the form of animals, including wolves, in order to gain strength and power in battle. The wolf was seen as a particularly powerful and fearsome animal, making it a popular choice for those who wished to take on its form.

The rune Hagalaz, with its associations with destruction and transformation, could be seen as a fitting symbol for the wolf in the Norse context. Its angular shape and jagged lines could represent the sharp teeth and claws of the wolf, while its association with hail could be seen as a metaphor for the wolf's ferocity and power.

Overall, while the Old Norse rune poem does not specifically mention wolves or any other animals, the rune Hagalaz could be seen as a good candidate to represent the wolf in the Norse context, particularly in the context of hamramr or shape-shifting. Its associations with destruction and transformation make it a powerful symbol that could be used to evoke the spirit of the wolf in Norse mythology.

How to use the Hail rune to connect with the Wolf spirit in your practice

Connecting with one's wolf spirit can be a powerful experience, allowing an individual to tap into their inner strength, courage, and intuition. The Hagalaz rune can be used as a magical tool to help facilitate this connection, by harnessing its transformative power and associations with the wolf.

One way to use the Hagalaz rune to connect with one's wolf spirit is to meditate on the rune, focusing on its shape, energy, and associations. Visualize the rune as a gateway or portal to the world of the wolf, and allow yourself to be drawn through it, feeling the transformational power of the rune as you shift into your wolf form.

Once you have connected with your wolf spirit, you can work with the Hagalaz rune to help strengthen and empower your connection. You might carve the rune into a piece of wood or stone, or draw it on a piece of paper, and use it as a talisman to carry with you. You could also incorporate the rune into a ritual or spell, invoking the transformative power of the rune to help you connect with your wolf spirit and access its strength and wisdom.

Overall, the Hagalaz rune can be a powerful tool for those seeking to connect with their wolf spirit. By harnessing its transformative power and associations with the wolf, you can tap into your inner strength, courage, and intuition, and awaken the power of your wolf spirit within.

[chattering-magpie-uk]

My Library 2023

https://chattering-magpie-uk.tumblr.com/post/678621392706633729/my-library https://chattering-magpie-uk.tumblr.com/post/706343230825005056/my-library-2023-part-1 https://www.tumblr.com/chattering-magpie-uk/707953005854654464/my-library-2023-part-2 https://www.tumblr.com/chattering-magpie-uk/709334194146459648/shani-oates-the-odinn-triology https://www.tumblr.com/chattering-magpie-uk/709334578…

[forbidden-sorcery]

The Wild Hunt is popularly held to be a troupe of spectres and demons, usually depicted as mounted hunters; sometimes accompanied by hounds that trawl the sky at night gathering departed souls, sometimes even to a cacophony of 'rousing and rough musick.' Seeing the Wild Hunt was and often is considered a very bad omen, usually foretelling a Time of strife, misfortune, madness or death. In some story variants, the Hunt directly achieves its end by fright or exhaustion, And according to much folklore the living unfortunate enough to cross its path, are to be seen swept up within its infernal train. This strange and awesome folk belief was particularly endemic during the early Middle Ages, In each region, the spectral rider is often described as dressed in black, occasionally headless and is generally a local figure in folklore, a past hero or mythical figure from legend, Accounts report how 'fire spurts' from the hooves, mouths and noses of phantom horses and hounds, which are often only two or even three legged.                 An appearance of Herne the Hunter in Windsor Forest is often followed by tragedy or disaster, often of national importance, Herne is probably the most famous stag-horned leader of the Hunt and is often linked to the Gaelic deity 'Cernunnos' (who in turn has been tenuously linked to the striking Palaeolithic wall painting of a 'sorcerer' figure at Les Trois Frères cave complex). Although the mythological origins of this cult may be reasonably placed within Iron-Age Europe, there is no tangible association between Herne and the Gaelic deity 'Cernunnos' that should push those origins of the Wild Hunt back into pre-history, Herne is a hunter, 'Cernunnos' is not, Their roles are in fact entirely different. But what is particularly relevant is how the Hunts seem to frequent the same territory: these are generally corpse ways, spirit paths, ancient forests and other liminal places, These processional ways are interstitial points of commune with discarnate forms. Lights, magnetic phenomena and eerie sounds denote places of especial power, profound and subtle points of interaction between the human psyche and its environment, induced by radon gas, ions and sonic vibrations of these geomantic centres. Funeral processions and the Wild Hunt' are also linked in many traditions at sites all over the country. In fact, Saxon spirit paths and ritual causeways named ‘daeda-waeg,' formed the Iater 'corpse-ways'.

Shani Oates - Tubelo’s Green Fire

[blackthornwren]

The Devil's role is a complex one; by default it generates doubt and fear, leading us to question everything we hold dear and believe in. Those things encompass the nature of being, the omnipotence of a god or gods, the causality of interdependency between ourselves and them, but mostly how to gauge our virtues and vices by clear and licit boundaries. Every day we ask at some point if the Devil was a necessary fiction borne of an autocratic dualistic monotheism?

Shani Oates, The Devil’s Supper, pg. 62

[spiral-nature]

The Devil’s Supper, by Shani Oates

The story of the Devil has been told by many over the years — by those who think they know him and by those who wish they did. The Devil’s Supper begins by inviting the reader to listen to his tale and drink from his cup.

Shani Oates gives a history of primal deities, how in recent times they have been viewed as evil, but that it was not always the case. As an example, she talks about Set and how his actions against Osiris was out of necessity with no intention of evil. Many gods had both negative and positive forces within them and were not seen as intrinsically evil or good. There was no duality as in Christianity. To create and destroy, all things were deemed necessary.

[Read the full review.]

[eiruvsq]

Artist & Illustrator:

Lupe Vasconcelos

"Hekate"

Tempera Gouache Illustration for the book "Crafting the Art of Tradition"

By Shani Oates (Anathena Publishing, 2016)

http://www.lupevision.com

[skepticaloccultist]

The Devil’s Supper

"The Devil's Supper" Shani Oates

The devil's history is a forking path, one that has wend its way from times of yore through a maze of cultural conditioning, folkloric interpretation and whole cloth fabrication. The Devil has been many things to many people and fits a service of ideas across a span of time now into millennia.

Shani Oates is a well known author of contemporary traditional witchcraft and the Maid of the Clan of Tubal Cain, that path of traditional witchcraft that finds its origins in the writings and teachings of the late Robert Cochrane. Her previous works have given considerable shape to contemporary craft practices, and her insight into the practicalities of craft practice is immeasurable.

Her latest, "The Devil's Supper", is a superb journey through the narratives that have shaped our modern idea of the Devil and his role in society, theology, and witchcraft. Oates' gives us a tour of the fables and legends, from the Mesopotamian through the Graeco-Roman, into the middle ages of Europe, it is a tale of manipulation, speculation and theological propaganda.

In the Devil's Supper Oates provides a context for the slow shaping and reshaping of this figure "The Devil" and those accused of worshipping and having relations with this being. From a "being of the air" to the eventual physical materialization in the form of succubi and incubi the Devil and his supposed followers come from a long narrative of theological suppression, historic revisionism and cultural appropriation.

There is in the work a particularly British perspective, a line being drawn so directly from the ancient past to the English countryside, which makes sense given its author is a leading figure of a well respected British tradition. It treads concepts laid out by previous authors, and gives the reader an astoundingly detailed and compact history - each chapter could nearly be expanded into its own volume.

The volume itself is another spectacular binding by Anathema. A shimmering slightly metallic looking cloth black cover with a devilish impression to the front board and silver lettering to the spine. Rich cadmium red endpapers with a fabric texture highlight the similarly deep red ink highlights used throughout the design.

The pages are of a vellum-like smooth, just slightly off-white, paper and the entire work is heavily illustrated throughout in historic black & white images, woodcuts, and etchings as well as beautiful illustrations by artist Lupe Vasconcelos. It is a wonderful design top to bottom, for which Anathema should be commended. (Though I must ask, why no index? Such a wonderful bibliography and no index leaves an, albeit tiny, blemish on this otherwise perfect volume.)

Shani Oates is herself part of a living current of traditional British Witchcraft and will, I am sure, continue to add to the dialog and development of Craft practice. "The Devil's Supper" is a delightful romp through the historiography of that figure who has haunted European thought for centuries - the Devil.

Find a copy of The Devil's Supper here:

"The Devil's Supper" Shani Oates

[toxicrants]

OMFG I was about to make this post ALL OVER AGAIN after just picking the book back up and trying it for the umpteenth time.

Truly, history repeats itself.

Currently all of 3 pages into Shani Oates' 'Tubelo's Green Fire' and already I remember why I put this down the first time.

She really goes for it with the thesaurus and just flies from one thing to the next, even within the same paragraph. Not to mention claiming all these different cultures had myths about 'angel' creatures mating with humans but just names a load of random cultures with no in depth analysis nor references.

[arcane-offerings]

Shani Oates. The Devil's Supper. Montréal: Anathema Publishing, 2021. Paperback edition. 275 pages.

Shop link in bio.

View this post on Instagram

A post shared by Arcane Offerings (@arcaneofferings)

[unfetteredwood]

An interview with the amazing Shani Oates. While not really an influence on my practice anymore, certainly a huge inspiration in the past. 

[chattering-magpie-uk]

Two interviews with Shani Oates the Maid of the Clan of Tubal Cain

On the Blackchair – Shani Oates BiblioSophia ~ an interview with Shani Oates.

[forbidden-sorcery]

Pazuzu, an early Sumerian wind daemon, is an important prototype we should consider in the cumulative mask we have come to accept as typical of the Devil. His monstrous countenance induces terror; complete with knobbly horns, talons, and wings, his visage is truly frightful. Nonetheless, from within his dedicated cultural framework, he and other winged spirits were strictly ambivalent, originally called upon for judicious protection and revenge in matters of the living, rather than the dead. Many hundreds of years later, Pazuzu and several other arcane wind spirits were effectively demonized under the uncompromising Hellenization of Mesopotamia. We should understand therefore, that when it did change, he became a needful parallel catalyst within humankind to provoke ambivalent causality through a higher will, albeit one masterfully disguised as an embodiment of evil, presenting his historiography with a supreme paradox.

Shani Oates - The Devil’s Supper