418 lines
19 KiB
Plaintext
418 lines
19 KiB
Plaintext
|
|
BASIC TECHNOLOGIES OF WITCHCRAFT
|
|
|
|
This is the outline for a collection of four semi-formal training sessions
|
|
for people interested in starting out in "The Craft" or Neopaganism. It is
|
|
intended to give enough grounding to effectively participate in ritual,
|
|
with the expectation that those that are really dedicated, skilled, and/or
|
|
interested will undertake further study.
|
|
Since this is for beginners, there are no textbooks, no required reading,
|
|
and the course only deals with such material as can be taught in four 1-1/2
|
|
to 2 hour informal sessions.
|
|
|
|
I. DAY ONE: Neopagan Traditions
|
|
|
|
The first day's material is a basic overview of Neopagan history and
|
|
tradition, intended to make people more comfortable with the subject.
|
|
|
|
|
|
A. History of The Craft
|
|
|
|
Examine two topics to show how they influence the modern witch:
|
|
how Neopagan witchcraft grew out of and borrows from the
|
|
Gardnerian Reformation, and how our Craft Law developed from a
|
|
variety of traditions and needs.
|
|
|
|
1. Origins, Ancient (?) and Modern
|
|
|
|
Fact before theory: discuss the evolution of witchcraft
|
|
from Gardner onwards, then overview the evidences that
|
|
witchcraft is a pre-Christian and (possibly) pre-historic
|
|
religion.
|
|
|
|
a. The Gardnerian Reformation
|
|
|
|
Discussion of Gerald Gardner and both the original and
|
|
modern versions of Gardnerian Witchcraft (with a quick
|
|
side-line into its off-shoot and competitor, Alexandrian
|
|
Witchcraft).
|
|
|
|
b. The Church of All Worlds and Neopaganism
|
|
|
|
History of the Church of #TY:uKV.HX7d its contri-
|
|
butions, including the word "neopagan" and "Green Egg",
|
|
the journal in which the framework of modern, Neopagan
|
|
witchcraft was developed from the framework of
|
|
Gardnerianism crossed with Greco/Roman and Egyptian
|
|
pagan traditions.
|
|
|
|
c. The Non-Pagan Branches of the Craft
|
|
|
|
Other types of witches: Feminist Wicca, Church of Wicca,
|
|
the Masonic Druids of England, and the Family Tradition-
|
|
alists.
|
|
|
|
d. Evidences of Stone-Age Witchcraft
|
|
|
|
Discuss some of the evidence that witchcraft carries on
|
|
a tradition with stone-age origins and a 10,000 year
|
|
history, both pro and con. Emphasize that there is no
|
|
conclusive evidence one way or the other.
|
|
|
|
2. Craft Law, Ancient and Modern
|
|
|
|
a. The Reasons for Craft Law
|
|
|
|
Discuss how the in-bred fear of of the Powers of Evil,
|
|
combined with the need to trust each other against the
|
|
Inquisition, gave birth to the concept of Craft Law.
|
|
|
|
b. The Wiccan Rede
|
|
|
|
"An it harm none, do what thou will." Stress both the
|
|
libertine and the disciplinarian interpretations of that
|
|
law. Discuss the Law of Karma, and how the Wiccan Rede
|
|
(interpreted properly) becomes more of a safety rule
|
|
than a Commandment.
|
|
|
|
c. The Rule of Secrecy
|
|
|
|
Gloss quickly over the Inquisition (everybody knows
|
|
enough), and examine some of the evidence that a "witch-
|
|
hunt" is being begun. Encourage the students to
|
|
recognize that the decision to be public or secretive
|
|
has to be made by each individual, and they have the
|
|
right to expect others to respect their privacy on this
|
|
matter.
|
|
|
|
3. Magick in Theory and Practice
|
|
|
|
Magick is the unifying force in all of the Neopagan
|
|
Traditions. To lay the groundwork for Day Two, explain the
|
|
basic theories of magick, and how they influence the design
|
|
and practice of Neopagan ritual.
|
|
|
|
a. The Basic Rules of Magick
|
|
|
|
Explain that the central theory of magick is that
|
|
reality can be altered by a sufficiently strong will,
|
|
focused by the proper ritual. For comparison and
|
|
contrast, mention Bell's Hypothesis, from quantum
|
|
physics. Discuss seriously the possibility that all
|
|
that the magician alters is his own mind and awareness
|
|
of how the world works.
|
|
|
|
b. Magick and Neopagan Ritual
|
|
|
|
Define the two classic types of ritual: religious and
|
|
magickal, or (better terms) theurgical and thauma-
|
|
turgical. Show how magick is used in both, and where
|
|
the rituals diverge.
|
|
|
|
B. The Magick Circle
|
|
|
|
Even more than the pentacle, the Magick Circle is the central
|
|
symbol of Neopagan Witchcraft. The final topic for Day One is
|
|
the purpose, symbolism, and protocols of a pagan Circle.
|
|
|
|
1. Purpose and Symbolism
|
|
|
|
a. Ceremonial Magic and Qabbalism versus the Pagan Circle
|
|
Most people get their idea of what a circle is for from
|
|
the Ceremonial magicians and kaballists, who use it for
|
|
protection from outside magick. Emphasize that the
|
|
quantum leap that Gardner made was to think of using the
|
|
circle INSTEAD to keep beneficial magick WITHIN the
|
|
ritual area until it is fully built-up, focused, and
|
|
directed.
|
|
|
|
b. The Power of the Circle: The Five Elements
|
|
|
|
Discuss how the classic Four Elements of Greek science
|
|
are the symbols for four types of power, four states of
|
|
matter, four types of personality, and so forth, showing
|
|
correspondences. Highlight the difference between
|
|
elemental power, psychic power, and divine power - and
|
|
the similarities. Explain how the elements are used
|
|
in casting the circle.
|
|
|
|
c. Ritual Tools
|
|
|
|
Discuss one-by-one the tools that a witch uses to focus
|
|
her mind - the athame, the elemental symbols (salt or a
|
|
pentacle for earth, a candle or lamp for fire, the
|
|
incense and the wand for air, the chalice for water),
|
|
the magic mirror, the sword, candles, herbs, and the use
|
|
of images.
|
|
|
|
2. Conduct within the Circle
|
|
|
|
Two final bits of information needed inside the circle: the
|
|
directions of casting and the integrity of the circle.
|
|
|
|
a. Widdershins and Deosil
|
|
|
|
Define the terms (deosil = clockwise, widdershins =
|
|
counter-clockwise). Explain that widdershins is often
|
|
mistaken for evil, but show that the difference is more
|
|
accurately raising or bannishing power. Stress that, in
|
|
order to get along, when in doubt, go deosil.
|
|
|
|
b. The Integrity of the Circle
|
|
|
|
Remind people that, since no evil magick is involved,
|
|
there is no RISK involved in leaving a circle. However,
|
|
stress that since a circle is supposed to CONTAIN energy
|
|
it should not be punctured hastily or unnecessarily.
|
|
Teach how to open and close gateways in the circle, and
|
|
when to and not to do so.
|
|
|
|
|
|
II. DAY TWO : MEDITATION AND VISUALIZATION
|
|
|
|
The second day's concentration is on the mental aspects of magick and
|
|
ritual work, and is mostly in workshop form.
|
|
|
|
A. Meditation
|
|
|
|
Describe meditation as a means of altering your mental state by
|
|
relaxation and concentration. Contrast meditation and trance
|
|
state. Discuss the use of posture (asana) and paradoxical
|
|
breathing (pranayama) to attain a meditative state, then do a few
|
|
quick exercises.
|
|
|
|
B. Visualization(s)
|
|
|
|
Explain the difference between imagining and visualizing, then
|
|
stress the similarities. Stress the fact that visualization is
|
|
something that you will continually get better at - but there is
|
|
still no "wrong way." Then lead the students through the
|
|
following exercises:
|
|
|
|
1. Grounding and Centering
|
|
|
|
Using the seven chakras as steps along the way, guide them to
|
|
visualize energy being drawn up from the Earth and blown
|
|
through the tops of their heads (at the crown chakra) in a
|
|
free-flowing fountain. Then (if they seem up to it), guide
|
|
them to mold and direct that energy flow into a circle, then
|
|
a sphere of blinding white light. Have them draw the circle
|
|
back down through their spines until it is returned to the
|
|
Earth.
|
|
|
|
2. Contacting Your Magickal Self
|
|
|
|
Get them as relaxed as possible and in a deep meditative
|
|
state, then starting with a visualization of a Safe Place in
|
|
the forest, lead them to a fairy hill, then through the Maze
|
|
of the subconscious until they are somewhat lost. Guide them
|
|
to a long stairway, then through the door at the top. Then
|
|
set the mental setting - that at the doorway they change into
|
|
a powerful magician, and suddenly all of the tools and
|
|
symbols in the room are meaningful. Instruct them to study
|
|
the tools for a while. After a minute or two, lead them back
|
|
out through the maze, then to the clearing, and wake them
|
|
back up.
|
|
|
|
3. Aura Reading and Healing
|
|
|
|
a. Diagnosis
|
|
|
|
Guide them to ground and center (as II.B.1, above), then
|
|
stand in front of an evenly-lit white wall. Have them
|
|
open their eyes and stare at a point in the distance
|
|
beyond the instructor. (Note: this will for some of
|
|
them be the first time that they'll be channeling power
|
|
with their eyes open, so take your time.) Instruct them
|
|
to look for the greyish line around me (that is actually
|
|
an optical illusion). Once they've found it, instruct
|
|
them to visualize it being replaced with a wash of
|
|
color. Have them examine it for variations in thickness
|
|
or color.
|
|
|
|
b. Treatment
|
|
|
|
Point out an ill or sore region on the instructor's
|
|
body. Have them examine it for variations in color or
|
|
brilliance. Pick one student, then have him wrap his
|
|
hands in the energy that he's drawing, then "tune" it to
|
|
the color of the healthy areas in the aura. Instruct
|
|
him to use his hands as if he were rubbing on oil or
|
|
paint to color over the sick area, visualizing the new
|
|
color (healthy energy) replacing the older area, and
|
|
continue until the color stays changed after he's no
|
|
longer touching it or until he gets tired.
|
|
|
|
|
|
III. DAY THREE: BASIC RITUAL TECHNIQUES
|
|
|
|
The previous two courses teach the full minimum necessary to work solo
|
|
magick. The remaining two days will concentrate on group ritual. In
|
|
Day Three, we will discuss the basic techniques.
|
|
|
|
To explain the outline, relate the outline of the three Essentials of
|
|
Eastern magick - mandalla, mantra, and mudra.
|
|
|
|
A. Mantra - Music and Chanting
|
|
|
|
Discuss the three types of mantra most often used in Neopagan
|
|
ritual: memorized chants (for creating and focusing the Group
|
|
Mind), impromptu chanting (for advanced meditation and growing
|
|
together), and plainsong (for worship).
|
|
|
|
1. Memorized Chants
|
|
|
|
Teach them the chants listed below. Then run quickly (for
|
|
familiarization purposes only) through "We Wander Now", "Hoof
|
|
and Horn", "Burn Bright", "Circle 'Round the Fire", and any
|
|
others that I can remember on the spot.
|
|
|
|
a. "We All Come from the Goddess"
|
|
|
|
We ALL - COME from the GODdess
|
|
AND to HER we SHALL reTURN
|
|
LIKE a DROP - OF - RAIN
|
|
FLOWing TO the O-CEAN (repeat)
|
|
|
|
b. "I Circle Around"
|
|
|
|
I CIRcle aROUND, I CIRcle aROUND ...
|
|
the BOUN-'DRIES OF the EARTH ...
|
|
WEARing my LONG tail FEAthers AS I GLIDE ...
|
|
WEARing my LONG tail FEAthers AS I GLIDE ... (repeat)
|
|
|
|
c. "Air I Am"
|
|
|
|
(evenly spaced, every syllable emphasized)
|
|
|
|
Air I am,
|
|
Fire I am,
|
|
Water, Earth and Spirit I am ... (repeat)
|
|
|
|
d. "The Goddess Chant"
|
|
|
|
iSIS, aSTARte, diANna, HECaTE,
|
|
deMEter, KALi - inNAna (repeat)
|
|
|
|
2. Impromptu Chanting
|
|
|
|
Discuss the uses of impromptu chanting: ecstatic magick
|
|
(where one can't count on elaborate chants) and for deep
|
|
probing rituals, where they are used for free association.
|
|
As an example, demonstrate the three-word style that Starhawk
|
|
teaches in SPIRAL DANCE. Emphasize the use of beat and tempo
|
|
as unifying factors.
|
|
|
|
3. Plainsong
|
|
|
|
For contrast, sing the NROOGD classic, "O Earth Mother" to
|
|
demonstrate that not all ritual music needs to be in the form
|
|
of basic chants.
|
|
|
|
B. Mudra - Movement and Dance
|
|
|
|
1. Ritual Dance
|
|
|
|
(This section has not yet been finalized. Current plans
|
|
focus on simple circle-dance steps, the famed "spiral dance",
|
|
and then brief discussion of free-form dance and ecstatic
|
|
ritual.)
|
|
|
|
2. Theater Techniques
|
|
|
|
Remind people that one of the purposes of ritual is to catch
|
|
and hold the attention of Child Self, and point out that the
|
|
language that Child Self speaks best is melodrama. Instruct
|
|
them that gestures and actions in the Circle should speak
|
|
loud enough that words are not necessary. Then, since they
|
|
undoubtedly won't get the point, do two exercises to rub
|
|
their noses in it.
|
|
|
|
a. Banishing Exercise
|
|
|
|
Set up a circle, then pick out someone who seems to know
|
|
a bit about magick. Get him to go to one of the
|
|
quarters and ground and center. Then have him visualize
|
|
a threat approaching from his quarter, and tell him to
|
|
do a banishing. (He will inevitably do something
|
|
traditional, elaborate, and sterile.) Relax him, then
|
|
ask the class how THEY would have reacted, if THEY were
|
|
attacking the circle, to what he had done. Pick an
|
|
absolute novice, put him in the same place, ground and
|
|
center, pump them up with melodrama and heroics, then
|
|
describe a different menace and instruct them to scare
|
|
it off, turn it away (don't use the word "banish"). See
|
|
if the gestures aren't more dramatic.
|
|
|
|
b. Charging Exercise
|
|
|
|
Pick a couple who seem to know a bit about magick (if
|
|
possible), and have them ground, center, and use the
|
|
wand and chalice for a symbolic Great Rite. (See if
|
|
they do anything more sexual than just stick the wand
|
|
into the cup - I doubt it.) Relax them, then point out
|
|
to the class that the energies to be raised in this
|
|
exercise are to be earthy and sexual, EXACTLY like the
|
|
"rush" or thrill of heavy flirtation. Then pick the
|
|
most COMPATIBLE-looking couple (if possible) and repeat
|
|
the exercise (and see if they don't make it more
|
|
energetic).
|
|
|
|
|
|
IV. DAY FOUR: NEOPAGAN SYMBOLISM
|
|
|
|
Today's lecture has two purposes. First, we will deal with the
|
|
legends, meta-legends, and conventions that form the basis for most
|
|
Neopagan ritual. Then we will discuss the purposes behind a witchcraft
|
|
initiation, and walk through the one that the graduates of this class
|
|
will perform.
|
|
|
|
A. Theology/Thealogy
|
|
|
|
Theology and thealogy (the alpha-ending, Thea, being the Greek
|
|
feminine ending) are outlined to show how Neopagans relate to
|
|
their own and other people's choices of gods. The hook on which
|
|
this will all be hung is that most of the Gods represent facets of
|
|
human experience personified.
|
|
|
|
1. Forms of the God
|
|
|
|
Discuss the various types of masculine gods that appear in
|
|
pagan and Neopagan myth: the Sun-child, the Horned Hunter,
|
|
the Sensitive Artist, and the Lord of Death.
|
|
|
|
2. Forms of the Goddess
|
|
|
|
Discuss the image of the Three-Fold Goddess: the Maiden, the
|
|
Mother, and the Crone.
|
|
|
|
B. The Wheel of the Year
|
|
|
|
Read aloud the story of the Wheel of the Year from THE SPIRAL
|
|
DANCE, pages 28 and 29. Point out that this is the solar
|
|
calendar, and relate it to the agricultural cycle. Then add the
|
|
mystical component by telling the story of Persephone's descent
|
|
into the underworld, showing how it relates to the Wheel.
|
|
|
|
C. Initiation
|
|
|
|
Tell the story of how Osiris was slain by his jealous brother,
|
|
Set, and how his sister/wife Isis went down into the Underworld to
|
|
gain the secret of resurrection from the dead (for reminders, use
|
|
Wilson's account in COSMIC TRIGGER).
|
|
Discuss how Isis's humiliation in the land of the dead compares to
|
|
the psychology of initiation (with a brief aside into Paul's
|
|
revelation of Eleusis: "Except a seed of grain fall into the Earth
|
|
and die, it cannot rise again"). Use this and the discussion from
|
|
Day One of how Craft Law arose to outline the dual purpose of a
|
|
witchcraft initiation: to lead the initiate through humiliation
|
|
and death into elevation and new life, and to bind the initiate to
|
|
the laws necessary for the group experience of the Craft.
|
|
|
|
Finally, if time permits, do a walk-through of the initiation to
|
|
familiarize the candidates with it, then give them their scripts
|
|
to memorize.
|
|
|
|
|
|
|