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Mediterranean Trancework Part IV: Deity Bridalwork

This one is kind of tough to write about because there just aren't a lot of surviving traditions in the Med that deal with this. Not a lot but there are some. This is the point where things become a little bit more speculative. Due to the fact that a good deal of trancework is psychological and physiological, it is pretty simple to reconstruct this one though. Moreso than other traditions might have been. And that is because there is a very specific spectrum of ways that this can actually be done and be functional.

*Bride is a gender neutral term in this context. It comes from the cultural concept of being horsed or ridden like a horse by a deity. The Bride is the one under the bridle. The idea is that the deity steers the body of the person who is being horsed. This concept is also tied to a permanent relationship, similar to that of a mortal marriage. A deity Bride (capital B to denote a difference between someone engaging with a trance tradition and someone who is getting married) undergoes sacred vows and strict codes of conduct in their daily lives. The basics of that are that the individual must be of good social standing–not an outlaw, a drunk, a thief, or criminal of some kind (though that depends strongly on the deity involved, certain kinds of shady activities might be a bonus depending on the tradition you are engaging with). There should be a familial or an occupational connection to the deity, as in there should be a good unquestionable reason for this relationship and that reason should be conspicuous as should be the deity’s favor. 

There are four kinds of euphoric trance rituals. Each has a different goal and manner of interaction.  

Deity Bridalwork

Prophetic Bridalwork

Coming into the Presence of Divinity

Diagnostic Ritual

Deity Bridalwork

Deity Bridalwork is essentially making yourself into a horse for a deity. This is a culturally encoded concept that means "your body gets possessed by a god." This is done in ecstatic rituals where the deity is expected to be present and presiding. Non ecstatic rituals where the deity is expected to be present and presiding will involve a statue as a substitute for this. Ecstatic rituals are occasions where miracles take place and people get to interact with an embodied deity in the limited ways that would be appropriate--engaging with their preferred rituals tools, foods, colors, scents, drinks, and anything relevant to the current place in the calendar cycle. 

The Goal: To inspire, to bless, to actively participate.  

How Does This Work? 

A Bridal relationship is an act of devotion. At its very core, it is a state of sacrifice. To give up one’s body, to trust, and to be present for the community. It is an honor to participate in but it is a lot of work.  Preparing to perform an embodiment ritual like this starts with preparing the body through fasting, prayer, meditation, and good hygiene. I personally do a vitamin boost and water push during this time as well and abstain from meat (not even handling it or looking at it), alcohol, swearing, and I will wear white for an odd number of days in the lead up–usually 7 because that is the number of greatest fortune. Some deities have sacred numbers though and those may be better to use. 

On the day of, the Bride will take a ritual bath (or multiple) and get fully exfoliated from head to toe of all dead skin while chanting prayers (like the purgation chant). The body is fully waxed (if appropriate for that deity) and then moisturized with oils and bathed in scented smoke. The Bride is then veiled (eyes covered), having never looked into a mirror or into the eyes of another, and taken to the place where they will be dressed. The Bride will then be painted, dressed, and adorned with all of the clothing and tools of the Deity while music is played, cymbals are the most essential component unless it is a nature/agricultural deity–then it is clacking wood or grain stalks instead. 

Once fully dressed, the veil is removed from the eyes and the eyes of the deity are opened. The deity is then fed (or given a drink of) something that they are strongly associated with. From that point on, the transformation is complete and the Bride’s consciousness is pushed aside. The Bride then does whatever the ritual objective for the day or night is. That usually involves multiple activities and traveling on foot from one area that requires their presence to another. Music is played the entire time to keep the Bride in the proper state and to cover any unlucky sounds that may try to break through.  

Links: Because seeing it helps to understand so many tiny details that don’t make it into words. 

Bonalu ceremony for the goddess Mahakali. You can see the Bride’s body is adorned the same as the goddess would be dressed complete with the deity’s familiar tools that she interacts with. Music plays throughout, including drums and cymbals. Music holds up the ritual state, that is load bearing music. You can also see the attendants handing her things and holding her tools that are not in use. People gather to watch. There are familiar gestures and acts done by the goddess that further establish her identity. There are ritual objectives to complete as well–processing through certain areas to bless them, bathing and making offerings, receiving https://www.youtube.com/watch?v=mByafJxhDYU 

Thaipusam is a festival that features a lot of Bridalwork with both deities and spirits. It also involves body mortification, mostly through dermal piercing. This video features close ups of Brides getting pierced. It may not be suitable for all audiences, especially those who have phobias of needles. This is an own voice presentation so we can hear the Bride describe this in his own words. (Many thanks to Cousin Camilo for sharing this with the world.) https://www.youtube.com/watch?v=Qmo0BRMeHK4  

Prophetic Bridalwork

Prophetic Bridalwork involves all of the above plus the added bonus of receiving a truthful statement about matters beyond human perception. That phrasing is important. If a prophecy is truthful and useful then it is divine. If it is untruthful or not useful (or just gibberish) then it comes from some other source--most likely a daemon. The ability to do this accurately and to be able to spontaneously compose it in verse on the spot provides proof of state. In other words, the proof is in the prophetic pudding. 

The Goal: To provide truthful/ useful information that others can act on. 

How Does This Work?

The process for this is largely identical to Deity Bridalwork but instead of processing through the town and using their tools to bless the public, the Bride is led to a place of prominence. Music is played and when/if inspired to do so, the Bride will speak truth through spontaneously composed verse. This lasts until the Bride drops into a PTFO (more like slumps). At that point the Deity has departed and the Bride is fed something mundane to fully bring them back to their body. As a personal note, expect them to be completely exhausted and incapable of doing anything important in this state. They can go with the flow, they can talk, they can be social, they may even get up and dance around a little, but they will definitely be trance drunk and they will not be fully functional until they have slept. 

Presence

Coming into the presence of a deity is done without any kind of embodiment. It is merely a matter of singing the right songs and doing the right kind of dances. These are (usually) stately and highly formal. Most of the gods are dignified in their conduct but there are a few yahoos in the pantheon that prefer a bit more crash and chaos. (Looking at the entourage of Dionysos and Kybele here.) This can be done without a lot of messing around with other forms of trance but you should at least be able to reliably get yourself in and out of a basic trance before giving it a go. The goal of this one is just unity, oneness, feeling close to divinity. It has an extremely positive impact on the mind, body, and spirit of the participant and that is enough of a reason to do it. 

Special Note: Imagine that the single most important holy doctrine in one’s faith was simply “Joy.” The holiness of joy. To experience oneness, enthusiasm, euphoria. To feel compassion and camaraderie with others present, stepping into a communal experience of pure untethered joy. 

The Goal: To be in a state of unity.

How Does This Work? 

Presence ceremonies are handled by organizations like fraternities. As such they will have several levels of education and experience within them and whatever level you happen to be at determines the ways that you might engage with this. In the beginning you will know nothing but you can observe. As you progress you will learn to sing, learn to dance, and learn the philosophies of the individual group. A lot of latent learning happens during ceremonies but there are also occasions when you just get to learn outside of the confines of a ritual. Learn while awake, put into practice in ceremony. 

The movements, songs, and breathwork utilized in a presence ceremony are designed to bring you into a deep and powerful trance. The coordination of it allows for participation from many people at once. It is holy, good, and family friendly. It helps if things are clean, beautiful, and treated with the utmost sanctity. 

The presence of the deity is meant to fill every pocket of the self with love and joy. It is a generous, uplifting feeling. 

Links:

Semah ceremony from Turkiye. It demonstrates what a formal group presence ceremony can look like with participants dressed formally and engaging in the same movements together. Dancing in a large circle as a group and then making personal spins or turns within that wider circle is an extremely effective method of achieving a trance safely in a large group. https://www.youtube.com/watch?v=gFJ_cgpjFyQ 

Semah again, several styles this time. In this one the participants are using coordinated breathwork and well choreographed movements that induce and hold trance. I really like this one because you can clearly see three different types of group dances used in a presence ceremony. You can also hear and see the transitions moving from one holy song to another. Everyone benefits from this. There are dedicated musicians and people who are observing.   https://www.youtube.com/watch?v=USccRnT45cQ 

Diagnostic Ritual

This one relates to the rites of the Kouretes and Koryvantes and to the Orphic Hymns. The Kouretes and Koryvantes performed a ritual in which people would gather and lay very still while priestly musicians played sacred hymns and their special rhythms. If an individual had done something to offend one (or more) of the theoi, then their bodies would begin to contort and dance around ungracefully when that deity’s thread was played. This person could then afterwards perform the appropriate sacrifices and all would be mended. 

The ritual should begin at dusk with the setting sun and end either at or just before dawn. If you finish a few hours early, that's fine as it will then leave room in the night for making those aforementioned sacrifices. In addition to their own rhythms and melodies, each deity will also have a scent trigger (incense) burned at the start of their hymn. Offerings are not made until the end of the ritual though.

The Goal: Bring peace between humanity and the gods.  How Does This Work?

This is done largely the same as a spirit possession ritual and I strongly suspect that this is the origin of all possession rituals in the Med. Special Note: To my eyes, this is what the Orphic Hymns look like they were built to do if sung in order from start to finish.

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Mediterranean Trancework Part I: Shapeshifting

(Pictured: Athena with Aegis, Hercules with lion-skin pelt stealing a tripod from Apollo--who clearly has some thoughts about that since he is grabbing it and trying to pull it away from Hercules, all while the Pythia watches while holding incense in her hand.)

Gods, heroes, spirits, and even certain mortals are illustrated consistently in iconography to be surrounded by their specific encoded trappings--their unique clothing, weapons, holy symbols, and items or even creatures that they have with them. Even the number of dots or lines used in abstract background images have an encoded meaning when they are present. Usually representing the counting of time by days, lunar cycles/months, or even years. The direction of a triangle, pointing up or down, also has a contextual meaning. Even the hairstyle worn by a figure is there to provide context clues for what you are seeing. Nothing is truly background in iconography. All of it works together to identify who the characters are, what they are doing, and when it is happening. It is meant to be read and it is even meant to be somewhat easy to understand at a glance.

The deeper forms of Mediterranean trancework relate to shapeshifting, spirit possession, prophecy, deity Bridalwork, and variations related to those main four. All of these types of rituals involve three things that are not necessary in basic trancework. Those things are:

Legomena. Things recited. Sacred words, sacred chants, spirit threads. When these particular things are spoken in the right way, it induces specific trance effects.

Deiknumena. Things shown. This would be your regalia, food and drink, colors, tools, spirit weapons, body art, etc. Depending on the ritual, these things are either just made visible to the entranced or they are handled, imbibed, or worn.

Dromena. Behaviors. The actions that are prompted by exposure to the combination of legomena and deiknumena.

Shapeshifting

Shapeshifting can be any kind of transformation. It can relate to gender, age, lycanthropy or some other form of animal transformation (bears, wolves, and pigs being the most common), or turning an ordinary mortal into a hero (or anti-hero) for a time. All of which are done in order to accomplish a ritual objective, usually through elaborate ritual dances or through taking on a named role in reenacting a sacred legend. All shapeshifting rituals involve ritually imbibing something that will initiate the transformation, taking on the adornments that go with that transformation (wearing animal skins or essentially dressing the part), there is a ritual objective to be achieved while in that state, and then there is the proof of state--which is usually a demonstration of something inhuman. Like something your average mortal would be unable or unwilling to do in their right mind.

Hero legends are a roadmap for this process. Basically, any hero legend that you can find is something you can recreate through trancework and it was probably done that way in antiquity since that is how it is still done now. Becoming Hercules is something to physically do, to actually participate in. Enacting these types of transformations at specific points in the year helps to facilitate the changing of the seasons. It works to promote the spiritual hygiene of a community since one of the things done as a part of reenacting sacred legends is the blessing of an area. Which only a divinely chosen shapeshifted individual would have the spiritual authority to do.

The keyword here is divinely chosen. That basically just means that this is not something a person chooses to do for themselves as that would reek of hubris. Instead, out of a gathering of people qualified to do the job, some kind of divination process would take place. Usually by drawing lots in some way. The outcome of who does what has to always be left to chance but it is always quality controlled by limiting participation to people who have the spiritual authority to do the job to begin with. So, if a ritual has to do with death gods or heroes, then the pool of folks who draw lots would consist of people whose families have historically worked with the dead (as a mortician, gravedigger, or, to update this for a more modern world, as a coroner). Or they might involve people born under the dog star, or to a family who is under the protection of that collection of gods and spirits, or people born with other signs that would have been identified by a midwife at birth. There are a lot of ways to figure out who does this.

Honestly, at this point in the game, I think the pool is already limited enough so I would say that just feeling compelled to participate in something like this would put you in the group of folks drawing lots. There just aren't often very many of us gathered in any single location. Maybe one day when if there are too many applicants it can be narrowed down in one of the more traditional ways. That would be my suggested adaptation while saving room for the way that it has been done historically.

However, the most important aspect of being chosen to do this is the ability to actually do it. So, if this ritual involves performing 7 ritualized combat dances, you would have to know how to do those dances to even get a foot in the door. Thus we have our first real hurdle with this. Not many converts to Hellenic polytheism know the dances for this stuff or where they should go. The dances are not hard. They would have to be pretty simple and repetitive enough to keep the entranced entranced. All it takes is a little time and dedication. You could learn a traditional dance or remake one using several in the same genre as a guideline.

Heroes and spirits can take part in processionals where they would basically stay in character while moving from one place to another. Mind you, this is a sacred state achieved through trancework and not just cosplay with vibes. I just don't know any other way to describe it to a modern audience. While in such a processional, various archetypes/characters/heroes/spirits will interact with each other in their customary ways. This is the expected dromena mentioned a bit earlier. Each shapeshifted individual has an expected way in which they will behave and they are strictly limited to these behaviors in order for the sacred state to be recognized as valid.

So, during a processional, wicked daemones will run from or obey the sounds of ringing metal (even the clashing of swords). Heroes will be brave and keep spirits in line, protecting those who have gathered to watch. If there are two teams of shapeshifters, they will be antagonistic towards each other. Teams of naughty satyrs will do naughty satyr things to & with observers (within reason).

Watch this video below of the Mamuthones & Issohadores of Sardinia. And go ahead and let the idea that the origin of beings like Krampus are rooted in the processionals of spirits, heroes, and gods of the ancient world. Listen to that rhythm. That is the rhythm of transformation all across the Med. So, the music that goes with this and the movements done with this are evocative and it won't work with just anything. Pop music is fun for getting into the mood but those traditional rhythms and movements have a very specific purpose and all of it together forms an ancient bond between what we do now and what our ancestors have done.

Deity bridal work functions very similarly to this to the point that it can be virtually indistinguishable from shapeshifting in the results. The main differences between these things is the lead up to the ritual and the permanency of these states. Shapeshifters adopt the role for a limited time frame, Brides are compelled to do this for their entire lives and essentially have to live and behave in a ritual state the entire time.

Upstanding members of the community are traditionally favored for shapeshifting rituals. I know that part of that is just a reward for status but there is also an unspoken and pretty cute element to that as well. To put it simply, it is more fun to watch uptight moral people transform into wild beasts. And being divinely chosen to do it means they don't get to say no because it is an honor to turn into a dancing hairy doof. I will never stop giggling over that.

Shapeshifting rituals are for what we might call sympathetic magic today. They reaffirm our bond with the land and the changing seasons. They allow us to embody our heroes and form a link with our ancestors. It is sacred.

Read more in Part II: Spirit Possession

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[hennafamily-blog]

I can come #Repost @henna_afsana ・・・ #henna #hennalover #hennabyme #myhenna #passtime #hennacard #hennatattoo #hennacolor #hennadesign #hennaartist #hennabyafsana #afsanatheartist #afsana #afsanashenna #bridalseason #bridalhennaartist #bridal #bridalwork #bridalhenna

[rebeccabrysonmua]

Hair and makeup for the gorgeous Angela and her sister ❤️ . . . . . . . . . . . @confettimagazine @weddingjournal @onefabday @junebugweddings @irishweddingdiary @inspireweddings @bridebookhair @bridebookmakeup @bridebookhq @irishbridesmagazine @weddingsonline @quirkywed #bride #realbride #irishbride#nibride #irishwedding #wedding #weddingday #mua #mualife #belfastmua #northernireland #nimakeupartist #bridalmakeupartist #bridalmua #northernirelandmakeupartist #makeup #makeupartist #bridalmakeup #bridalwork#weddingface #nibride #belfastmakeupartist #thebigday #makeupartistlife #weddingmakeupartist #bridalparty #autumnwedding #belfastbride #bridesmaids #love #rebeccabrysonmakeupartist (at Rebecca Bryson - Make up Artist)