Everyday Witches: Identity and Community Among Young Australian

Total Page:16

File Type:pdf, Size:1020Kb

Everyday Witches: Identity and Community Among Young Australian Everyday witches: identity and community among young Australian women practising witchcraft EMMA LACHMI QUILTY B Arts (Hons) A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in Sociology and Anthropology, School of Humanities and Social Science The University of Newcastle, Australia March 2019 This research was supported by an Australian Government Research Training Program (RTP) Scholarship. 1 Statement of Originality I hereby certify that the work embodied in the thesis is my own work, conducted under normal supervision. The thesis contains no material which has been accepted, or is being examined, for the award of any other degree or diploma in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. I give consent to the final version of my thesis being made available worldwide when deposited in the University’s Digital Repository, subject to the provisions of the Copyright Act 1968 and any approved embargo. Signed: Emma Quilty Date: 29 – 03 - 19 The research was conducted on the traditional lands of the Turrbal, Awabakal and Wonnarua peoples and the Boon Wurrung and Woiwurrung (Wurundjeri) peoples of the Kulin Nation, whose enduring connection with the land and water is acknowledged and respected. 2 Abstract This thesis investigates witchcraft as a social phenomenon, by focusing on the everyday practices of young Australian witches. The thesis explores wider questions about how young witches construct meaning through cosmological systems and ritual participation. Everyday practices are deeply embodied and connect to broader ideas of belonging and identity. To explore these practices and patterns of belonging, the thesis draws on twelve months of fieldwork. This fieldwork was conducted among young Australian women practising witchcraft in, primarily, Reclaiming witchcraft, though also incorporating women practising in other traditions. The majority of the young women interviewed for this study are in their early-to- mid-twenties, some of whom grew up in conservative Christian families, which affected the development of their spiritual identities, leading them into the world of witchcraft. The thesis draws on insider participant observation methods where the researcher became immersed in the community that is the focus of this study. This thesis examines the social and cultural dimensions of spirituality, through a witchy lens, rather than a secular or rationalist perspective. Through an analysis of witchy beliefs and practices, this thesis critically considers how witchcraft is lived in everyday contexts. It considers how women embrace witchcraft as a domain where they enact femininity in a way that is counter to patriarchal discourses. Through an analysis of cosmology and ritual, this thesis aims to illuminate how young women create a sense of belonging in their communities using the symbol of the witch. It aims to inform contemporary understandings of spiritual identity work. The thesis analyses witchcraft conceptual systems using metaphors to draw out the ways the young women intertwine witchyness into their everyday lives. One of the primary metaphors that came out of the analysis was weaving. Weaving emerges in the ways the young women intertwine themselves into a sense of sociality that encompasses the past, present and future, as well as human and non- human persons. From this web of witchyness, the thesis aims to inform current understandings of how young people understand themselves and their place in the world. Witchcraft represents an attempt to improvise on the historical threads they have inherited to create their own narratives. The young women in this study live these stories through seemingly mundane practices that become part of their everyday lives. 3 This thesis is dedicated to all the people in the world who are persecuted and killed for being witches. It’s 2019 – how is this still a thing? 4 Acknowledgments Firstly, I would like to begin my acknowledgements by extending my deep gratitude to the women and men who were a part of this study. Thank you for not only inviting me into your homes without hesitation, but for sharing your life stories with me. I am so honoured that I was able to listen to your experiences and share them. Kath – it was your sociology of religion course that inspired me to pursue my quirky interests in paganism, witchcraft and shamanism. It was in your courses and reading your work I felt as though I had a place in the world, as a witchy academic. Hedda, thank you for being my confidante when I felt alone and for holding my hand at my first ‘grown up’ conference. I made so many wonderful friends at the AAS that year because you happily introduced me around. To Daniela and Debbi, the first anthropologists who taught and inspired me. Thank you for everything you shared with me. Lena, thank you so much for taking me under your wing and encouraging me to pursue my passions. The experiences I have had as a result of my research in Voodoo and witchcraft will stay with me forever. The lessons you have passed onto me, about teaching, tarot, frogs, politics and life in general, have helped shape the person I am today. I would also like to thank the wonderfully supportive mentors who I have worked for and beside during this journey. Ann, thank you so much for all of the countless opportunities you have given me; you have given me so much support and guidance. To my wonderful and inspiring friends in education, Daniela and Margot, thank you for taking me under your wings and introducing me to the wonderful world of pedagogy and Rosi Braidotti. To my PhD roomies; Pearl, thank you for being a wonderful support through such a terrifying transition – your friendship is so precious to me. Eleonora and Justine, you two are absolute wonder-women and your research takes my breath away. I cannot wait to watch and see how you both take on the world. To my beautiful and hilarious psychology friends, Monica, Olivia, Stef; and Romany – thank you for always taking me on our walk and talks and kebab Fridays. I always knew I could knock on your door for a quick chat (or lengthy rant). To my weird and wonderful family, thank you for being patient with me when I was away all the time, sometimes frazzled, and often hungry. Mum, thank you for being the strongest woman I know and the best role model for a young brown kid in an Anglo-suburban community. Dad, 5 you were the one who told me to choose a career I loved, so I would never feel like I was working, and that was the best career advice I have ever received. Thank you to my little sister, for being weird and always willing to watch American Horror Story with me, talk about Stevie Nicks, high school and being queer. A big thank you to my Aunty Elizabeth for sneaking me witchcraft magazines and letting me watch Buffy and Practical Magic. Nicole Walters, when I told you my ambition to become an anthropologist you said something that has stayed with me – you said “I look forward to reading your first journal article and seeing your name printed in the journal”. What you said that day has affected my life. Jane Snell – as my society and culture teacher, you did more than just introduce me to anthropology, you supported my (somewhat leftfield) PIP on henna and you introduced me to Sidney Poitier. Thank you for inspiring and encouraging me. I would like to thank the wonderful folks at Everymind; thank you to all of my friends and ghost supervisors who read chapters, made sure I took care of myself and generally cheered me on in the last push. I would like to especially thank Jasmina, Arsh, Renate and Elizabeth – your time and support is much appreciated. Finally, I would like to thank my friends Holly, Kirsten, Caitlin, Emma and Danielle. I went through what has probably been one of the scariest times in my life while I completed my thesis. I may have been terrified, but I never felt alone. I felt more loved and supported than at any other time in my life, thanks to you. 6 Table of Figures Figure (1) Witchcraft/Wicca Statistics sourced from the Australian Bureau of Statistics ....... 19 Figure (2) A selection of witchy social gatherings in New South Wales and Victoria ............ 64 Figure (3) Image from fieldwork diary .................................................................................... 77 Figure (4) Wheel of the Year based on the Northern Hemisphere. Image created by Rachel Hardwick and used with kind permission (see Appendix D). .................................................. 88 Figure (5) Image of an altar from Tiff and Jenna’s home ...................................................... 106 Figure (6) Image of an altar from CloudCatcher WitchCamp ............................................... 108 Figure (7) Morgan’s altar ....................................................................................................... 109 Figure (8) Image taken by Luke Brohman and used with kind permission, at the CloudCatcher WitchCamp held in 2015 (see Appendix C) .......................................................................... 140 Figure (9) Group of women at 2015 CloudCatcher WitchCamp (picture taken with permission) ............................................................................................................................. 158 7 Table of Contents Statement of Originality .....................................................................................................................
Recommended publications
  • An Ethnographic Inquiry of a Coven of Contemporary Witches James Albert Whyte Iowa State University
    Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 1981 An examen of Witches: an ethnographic inquiry of a coven of contemporary Witches James Albert Whyte Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Part of the Anthropology Commons, New Religious Movements Commons, and the Other Religion Commons Recommended Citation Whyte, James Albert, "An examen of Witches: an ethnographic inquiry of a coven of contemporary Witches" (1981). Retrospective Theses and Dissertations. 16917. https://lib.dr.iastate.edu/rtd/16917 This Thesis is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. An examen of Witches: An ethnographic inquiry of a coven of contemporary Witches by James Albert Whyte A Thesis Submitted to the Graduate Faculty in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS Department: Sociology and Anthropology Maj or: Anthropology Signatures have been redacted for privacy Iowa State University Ames, Iowa 1981 ii TABLE OF CONTENTS Page INTRODUCTION 1 WITCHCRAFT 10 WITCHES 23 AN EVENING WITH THE WITCHES 39 COVEN ORGANIZATION 55 STRESS AND TENSION IN THE SWORD COVEN 78 THE WITCHES' DANCE 92 LITERATURE CITED 105 1 INTRODUCTION The witch is a familiar figure in the popular Western imagination. From the wicked queen of Snow White to Star Wars' Yoda, witches and Witch­ like characters have been used to scare and entertain generations of young and old alike.
    [Show full text]
  • Wicca 1739 Have Allowed for His Continued Popularity
    Wicca 1739 have allowed for his continued popularity. Whitman’s According to Gardner, witchcraft had survived the per- willingness to break out of hegemonic culture and its secutions of early modern Europe and persisted in secret, mores in order to celebrate the mundane and following the thesis of British folklorist and Egyptologist unconventional has ensured his relevance today. His belief Margaret Murray (1862–1963). Murray argued in her in the organic connection of all things, coupled with his book, The Witch Cult in Western Europe (1921), that an old organic development of a poetic style that breaks with religion involving a horned god who represented the fertil- many formal conventions have caused many scholars and ity of nature had survived the persecutions and existed critics to celebrate him for his innovation. His idea of uni- throughout Western Europe. Murray wrote that the versal connection and belief in the spirituality present in a religion was divided into covens that held regular meet- blade of grass succeeded in transmitting a popularized ings based on the phases of the moon and the changes of version of Eastern theology and Whitman’s own brand of the seasons. Their rituals included feasting, dancing, sac- environmentalism for generations of readers. rifices, ritualized sexual intercourse, and worship of the horned god. In The God of the Witches (1933) Murray Kathryn Miles traced the development of this god and connected the witch cult to fairy tales and Robin Hood legends. She used Further Reading images from art and architecture to support her view that Greenspan, Ezra, ed. The Cambridge Companion to Whit- an ancient vegetation god and a fertility goddess formed man.
    [Show full text]
  • Constructing the Witch in Contemporary American Popular Culture
    "SOMETHING WICKED THIS WAY COMES": CONSTRUCTING THE WITCH IN CONTEMPORARY AMERICAN POPULAR CULTURE Catherine Armetta Shufelt A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY December 2007 Committee: Dr. Angela Nelson, Advisor Dr. Andrew M. Schocket Graduate Faculty Representative Dr. Donald McQuarie Dr. Esther Clinton © 2007 Catherine A. Shufelt All Rights Reserved iii ABSTRACT Dr. Angela Nelson, Advisor What is a Witch? Traditional mainstream media images of Witches tell us they are evil “devil worshipping baby killers,” green-skinned hags who fly on brooms, or flaky tree huggers who dance naked in the woods. A variety of mainstream media has worked to support these notions as well as develop new ones. Contemporary American popular culture shows us images of Witches on television shows and in films vanquishing demons, traveling back and forth in time and from one reality to another, speaking with dead relatives, and attending private schools, among other things. None of these mainstream images acknowledge the very real beliefs and traditions of modern Witches and Pagans, or speak to the depth and variety of social, cultural, political, and environmental work being undertaken by Pagan and Wiccan groups and individuals around the world. Utilizing social construction theory, this study examines the “historical process” of the construction of stereotypes surrounding Witches in mainstream American society as well as how groups and individuals who call themselves Pagan and/or Wiccan have utilized the only media technology available to them, the internet, to resist and re- construct these images in order to present more positive images of themselves as well as build community between and among Pagans and nonPagans.
    [Show full text]
  • A Christian Psychologist Looks at the Da Vinci Code
    A Christian Psychologist Looks at The Da Vinci Code April 2006 Stephen Farra, PhD, LP, Columbia International University For information about reprinting this article, please contact Dr. Farra at [email protected] Understanding the Agenda behind The Da Vinci Code A number of scholarly, thoughtful responses to The Da Vinci Code have already been produced by other members of the Christian community. These other responses, though, tend to concentrate on historical and factual errors, and the false conclusions these errors can produce. This response is different. While this response also highlights several historical/factual errors in the text of The Da Vinci Code, this response attempts to go to the conceptual and spiritual essence of the book. Instead of focusing on mistakes, and what is obviously distorted and deliberately left out, this response focuses on what is actually being presented and sold in the book. It is the thesis of this review that what is being presented and sold in The Da Vinci Code is Wicca – Neo-paganism, modern Witchcraft, “the Wiccan Way.” People need to make up their own minds on this important issue, however. A comparative chart, and numerous other quotations / examples are employed to present the evidence, and make the case. The Da Vinci Code is not just a novel. If that is all it was or is, there would be no need for the page boldly labeled "FACT” (all capital letters). The FACT page is page 1 in the book, the last printed page before the Prologue, the true beginning of the story. On the FACT page, the author(s) try to convince you that they have done a good job of researching and fairly representing both the Priory of Sion and Opus Dei, and then go on to boldly proclaim: "All descriptions of artwork, architecture, documents, and secret rituals in this novel are accurate." This "novel" is really a deconstructionist, post-modern attempt to re-write history, with a hidden agenda deeply embedded within the deconstructionist effort.
    [Show full text]
  • Deus Ex Machina? Witchcraft and the Techno-World Venetia Robertson
    Deus Ex Machina? Witchcraft and the Techno-World Venetia Robertson Introduction Sociologist Bryan R. Wilson once alleged that post-modern technology and secularisation are the allied forces of rationality and disenchantment that pose an immense threat to traditional religion.1 However, the flexibility of pastiche Neopagan belief systems like ‘Witchcraft’ have creativity, fantasy, and innovation at their core, allowing practitioners of Witchcraft to respond in a unique way to the post-modern age by integrating technology into their perception of the sacred. The phrase Deus ex Machina, the God out of the Machine, has gained a multiplicity of meanings in this context. For progressive Witches, the machine can both possess its own numen and act as a conduit for the spirit of the deities. It can also assist the practitioner in becoming one with the divine by enabling a transcendent and enlightening spiritual experience. Finally, in the theatrical sense, it could be argued that the concept of a magical machine is in fact the contrived dénouement that saves the seemingly despondent situation of a so-called ‘nature religion’ like Witchcraft in the techno-centric age. This paper explores the ways two movements within Witchcraft, ‘Technopaganism’ and ‘Technomysticism’, have incorporated man-made inventions into their spiritual practice. A study of how this is related to the worldview, operation of magic, social aspect and development of self within Witchcraft, uncovers some of the issues of longevity and profundity that this religion will face in the future. Witchcraft as a Religion The categorical heading ‘Neopagan’ functions as an umbrella that covers numerous reconstructed, revived, or invented religious movements, that have taken inspiration from indigenous, archaic, and esoteric traditions.
    [Show full text]
  • Who Is George Pingill.Cdr
    ica Gardneriana W www.wiccagardneriana.net Who is George Pinckingill George Pickingill, sometimes known simply as "Old George", (one assumes to separate him from his namesake child) is as much an enigma today to many as he must have been when he was alive. Many stories surround this figure, (both 'good' and 'bad' - depending on the perspective one takes) and it is hard to separate the myth from the man. This is especially so in the modern climate wherein many views are naturally biased towards the "Neo-pagan" ways of thought and the views of the founders of the same are often received and treated as gospel. I myself have heard many stories, (from both 'sides of the fence') but none have fascinated me nor awaked as much of a 'ring of truth' as those that I have heard from one of his descendants - Bill Liddell." (Scott Bisseker, 2000) "George Pickingill is central to many of the claims advanced by Modern Witchcraft. Claire Smythe refers to him as George Pickingale in her article 'Canewdon', which was published in '50 Strange Stories of the Supernatural' (edited by ). Smythe claims "Canewdon was not only one of the last places in which the traditional belief in witches survived, but also the home of the last Masters of Witches (Canewdon legend maintains that their witches have a Master). This old man, George Pickingale, died in 1909 aged ninety three. Pickingale was both a black and white magician, and while he was much feared by the villagers who dared not disobey him for fear of what he might do in reprisal, he would also charm their warts and was sometimes called in to settle their disputes.
    [Show full text]
  • Strength Symbols
    Ancient Japanese kanji symbol for Spiritual Strength Ancient Japanese symbol for Good Fortune. Ancient Japanese symbol for Black Sheep Ancient Japanese symbol for Supernatural Power. Strength Symbols The Bear-An ancient Heraldic symbol which signifies Strength. The Bull- Symbolized strenght in Egypt and other countries. Japanese Kanji Symbol for Strength Tabono - the 'paddles'. Ancient African Symbol- Symbol represents strength and perseverence. Celtic Boar symbol for Strength Chinese Symbol for Strength Good Luck Symbols Four Leaf Horseshoe-The horseshoe Clover-is a renown is considered very lucky symbol that means good and used to be hung in luck to the person who many homes to protect and finds one. What do the attract good fortune for the leaves symbolize? family residing inside. One leaf is for FAITH...The second for Horseshoes were also considered lucky HOPE... The third for LOVE... And the because they were made by fourth for LUCK! In Irish tradition the blacksmiths, which is also considered a Shamrock or Three-leaf Clover very lucky trade. Because they worked represents the Holy Trinity: one leaf for with elemental fire and magical iron, the Father, one for the Son and one for they were thought to have special the Holy Spirit. When a Shamrock is powers. found with the fourth leaf, it represents God's Grace. Lucky Rabbit's foot- Rabbits and hares were considered very lucky animals as they were associated with spring and the return of flowers and other plants. Spring was also a time of fertility and so rabbits were considered good luck to be seen running through the fields.
    [Show full text]
  • The Charge of the Goddess
    The Charge of the Goddess: A Wiccan Ethic It has been my experience that many people get involved in Wicca because they like the lack of rules. We don’t have a lot of “Thou shalt nots.” All we have is the Witch’si Rede, they say. But there are many unspoken rules of ethics that we think of as being essentially “Wiccan.” Why? Where do they come from? The answer should be self-evident but often isn’t. What is the one piece of liturgy that Wiccans really have? The answer is the Charge of the Goddess. Most modern Wiccans treat this prose as a lovely way to invoke the Goddess. It does work well that way. But consider the original meaning of the word “charge”. It is a command, a responsibility laid upon someone, an exhortation, a duty, an injunction, or being entrusted with someone’s care. It is a series of rules! In order to illustrate this, and illustrate how this piece of liturgy defines our Wiccan ethics, the remainder of this article will be concerned with breaking down the Charge into its component elements and paraphrasing them in a less poetic fashion. I will present both Doreen Valiente’s version and Starhawk’s version, since both are utilized among different Wiccan traditions. Though there are other versions, these are the most commonly known. There are also some slight differences (some elements present in one version may not be present in the other,) and so these differences need to be addressed as well. Valiente: Listen to the words of the Great Mother; she who of old was also called among men Artemis, Astarte, Athene, Dione, Melusine, Aphrodite, Cerridwen, Cybele, Arianrhod, Isis, Dana, Bride and by many other names: Starhawk: Listen to the words of the Great Mother, Who of old was called Artemis, Astarte, Dione, Melusine, Aphrodite, Cerridwen, Diana, Arionrhod, Brigid, and by many other names: The Goddess says, first and foremost, “Listen!” I don’t believe that this is merely a poetic way of beginning the script.
    [Show full text]
  • OCCULT BOOKS Catalogue No
    THOMPSON RARE BOOKS CATALOGUE 45 OCCULT BOOKS Catalogue No. 45. OCCULT BOOKS Folklore, Mythology, Magic, Witchcraft Issued September, 2016, on the occasion of the 30th Anniversary of the Opening of our first Bookshop in Vancouver, BC, September, 1986. Every Item in this catalogue has a direct link to the book on our website, which has secure online ordering for payment using credit cards, PayPal, cheques or Money orders. All Prices are in US Dollars. Postage is extra, at cost. If you wish to view this catalogue directly on our website, go to http://www.thompsonrarebooks.com/shop/thompson/category/Catalogue45.html Thompson Rare Books 5275 Jerow Road Hornby Island, British Columbia Canada V0R 1Z0 Ph: 250-335-1182 Fax: 250-335-2241 Email: [email protected] http://www.ThompsonRareBooks.com Front Cover: Item # 73 Catalogue No. 45 1. ANONYMOUS. COMPENDIUM RARISSIMUM TOTIUS ARTIS MAGICAE SISTEMATISATAE PER CELEBERRIMOS ARTIS HUJUS MAGISTROS. Netherlands: Aeon Sophia Press. 2016. First Aeon Sophia Press Edition. Quarto, publisher's original quarter black leather over grey cloth titled in gilt on front cover, black endpapers. 112 pp, illustrated throughout in full colour. Although unstated, only 20 copies were printed and bound (from correspondence with the publisher). Slight binding flaw (centre pages of the last gathering of pages slightly miss- sewn, a flaw which could be fixed with a spot of glue). A fine copy. ¶ A facsimile of Wellcome MS 1766. In German and Latin. On white, brown and grey-green paper. The title within an ornamental border in wash, with skulls, skeletons and cross-bones. Illustrated with 31 extraordinary water-colour drawings of demons, and three pages of magical and cabbalistic signs and sigils, etc.
    [Show full text]
  • Rosaleen Norton's Contribution to The
    ROSALEEN NORTON’S CONTRIBUTION TO THE WESTERN ESOTERIC TRADITION NEVILLE STUART DRURY M.A. (Hons) Macquarie University; B.A. University of Sydney; Dip. Ed. Sydney Teachers College Submission for Degree of Doctor of Philosophy School of Humanities and Social Science University of Newcastle NSW, Australia Date of submission: September 2008 STATEMENT OF ORIGINALITY This work contains no material which has been accepted for the award of any other degree or diploma in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. I give consent to this copy of my thesis, when deposited in the University Library, being made available for loan and photocopying subject to the provisions of the Copyright Act 1968. Signed: Date: Neville Stuart Drury ACKNOWLEDGEMENT OF AUTHORSHIP I hereby certify that the work embodied in this Thesis is the result of original research, the greater part of which was completed subsequent to admission for the degree. Signed: Date: Neville Stuart Drury 2 CONTENTS Introduction 5 Chapter One: Rosaleen Norton – A Biographical Overview 16 Chapter Two: Sources of the Western Esoteric Tradition 61 Chapter Three: Aleister Crowley and the Magic of the Left-Hand Path 127 Chapter Four: Rosaleen Norton’s Magical Universe 214 Chapter Five: Rosaleen Norton’s Magical Practice 248 Chapter Six: Rosaleen Norton as a Magical Artist 310 Chapter Seven: Theories and Definitions of Magic 375 Chapter Eight: Rosaleen Norton’s Contribution to the Western Esoteric Tradition 402 Appendix A: Transcript of the interview between Rosaleen Norton and L.J.
    [Show full text]
  • Earth-Centered Religions
    An Introduction To Earth-Centered Religions History Overview Earth-centered or Pagan religious traditions together constitute a major world religion—but with many unique branches. Paganism has many branches due largely to the individualized ecosystems, pantheon and mythology of the various cultures from which they have emerged. The branches often share their roots in ancient Goddess traditions. They include the pagan and earth-centered religions practiced before the introduction of Christianity as well as a growing and vibrant movement of the 21st Century. Examples of Pagan traditions include: Asatr (based upon pre-Christian Norse religion and mythology); Greek (based upon pre-Christian Greek religion and mythology); Goddess worship (drawing upon different cultures and dating back more than 35,000 years); Druidism (based upon pre-Christian Celtic religions); and, Wicca (reconstructed from pre-Christian Western European religions). Most of the Earth-Centered traditions went underground or vanished during the centuries-long period of Christianization wherein many Pagan holidays and traditions were absorbed into the Christian calendar and its practices. As an example, the Pagan holiday of Eastre celebrated the Goddess of Spring and the idea of fertility (through the symbolism of eggs and rabbits). Eastre became Easter, the Celebration of the Risen Christ. After decades of dormancy, the modern Pagan movement began emerging in the 1950’s. It matured in the context of the ecological, civil rights and womenʼs movements. This emergence resulted in strong ties between Paganism and the social justice and environmental move-ments. Wiccan author and activist Starhawk is a popular articulator of the Pagan tradition. Today Pagan celebrations such as The Burning Man Festival and fictional Wiccan characters such as Willow on Buffy the Vampire Slayer have brought Pagan expression into mainstream pop- culture at a time when the tradition is growing in numbers and in visibility.
    [Show full text]
  • Sacraments of Initiation Fallow Year Reflection Resource Document
    DIOCESAN LITURGY COUNCIL Sacraments of Initiation A fallow year reflection resource … … You will sow your land and gather its produce, but (in the year of pandemic) … you will let it lie fallow and forgo all its produce … (Ex 23:10-11) In ancient times the ‘fallow’ year was concerned with the wellbeing of the land/creation and feeding the poor. The fallow year was also associated with Sabbath and time to rest with God. Sabbath is about becoming whole as a person, as a society, and in our case, as a church specifically in regard to the ministry of Christian Initiation with regard to children and families. 1 | P a g e Prayer of Teilhard de Chardin - Patient Trust Above all, trust in the slow work of God. We are quite naturally impatient in everything to reach the end without delay. We should like to skip the intermediate stages. We are impatient of being on the way to something unknown, something new. And yet it is the law of all progress that it is made by passing through some stages of instability— and that it may take a very long time. And so I think it is with you; your ideas mature gradually—let them grow, let them shape themselves, without undue haste. Don’t try to force them on, as though you could be today what time (that is to say, grace and circumstances acting on your own good will) will make of you tomorrow. Only God could say what this new spirit gradually forming within you will be.
    [Show full text]