We met many Witches from other covens, and I began studying with a teacher from the Faery tradition. I began to come into a sense of my own power. As a group, we also realized that the energies we were raising were real, not merely symbolic. The group felt a need for an acknowledged leader; at the same time, I felt the need to have my newfound inner power recognized. The coven confirmed me as Priestess.
Like most people whose sense of inner strength is developing quickly, I occasionally went to extremes. From being a collectivist nonleader, I became a rather heavy-handed Priestess at times. There are days when my records of rituals read quite differently from either of the two presented in this chapter: "I cast the circle ... I invoked the G.o.ddess... I led the chant... I directed the Cone of Power ..." Fortunately, my coveners were both tolerant enough to let me make mistakes and honest enough to tell me when they didn"t like what I was doing.
We began sharing responsibilities: One covener would bring the salt and water and purify the circle, another would bring the incense and charge the s.p.a.ce. The men invoked the Horned G.o.d, and we took turns invoking the G.o.ddess and directing the cone of power. I became more relaxed in the role of leader.
As other coveners developed their own strengths, we decided to "pa.s.s the wand." Diane, a tremendously warm individual, who radiates a sense of caring, was our unanimous choice. She had always liked our simple, spontaneous rituals best, and under her leadership we let go of a lot of structure and experimented. "I don"t feel like formally casting the circle tonight," she might say, "let"s just tap the four walls, and chant. Why don"t we chant each other"s names?" And so we would chant-sometimes for hours, in the process developing one of the simplest and most beautiful rituals we use today.
Diane left for the summer, and we pa.s.sed the wand to Amber, the youngest member of our coven. Diane warmed the circle with a steady glow; Amber lit it up with skyrockets, fireworks, and colored flames. Talented, charming, lovable, and unsteady, she is a fine musician with an operatic singing voice and a flair for drama. She inspired us to the creation of more theatrical rituals, like many of those presented in Chapter Twelve. But Amber had difficulty functioning at the high level of responsibility that coven leadership demands. She was going through a tense period in her personal life, and, while she usually carried through her commitments, doing so caused her a lot of anxiety and stress. In retrospect, we did her a disservice by not allowing her a longer period of training.
Honeysuckle underwent a different process of formation. It began as a cla.s.s in the Great G.o.ddess, at a time when I had been Priestess of Compost for many months, and was already an initiate of the Faery tradition. I was coming from a much stronger position as a leader, and it took a much longer time before anyone questioned my authority. I was determined not to rush the training of this group, and it was almost a year before I so much as mentioned the word initiation. When each woman in turn felt ready to take on more responsibility, was able to question my authority, and was willing to move out from the role of student, she was initiated. A new ritual was created for each member, and each rite crystallized a period of growth.
Finding a coven to join can be difficult. Witches are not listed in the Yellow Pages, although today groups can easily be found on the World Wide Web (see Resources). Often, however, they do give cla.s.ses through Open Universities or metaphysical bookstores. Some universities sponsor Pagan student groups. Occult shops sometimes also furnish leads and Unitarian churches may have CUUPs chapters (see Resources). The best route, of course, is through personal contacts. Witches feel that when a person is internally ready to join the Craft she will be drawn to the right people.
Unfortunately, a lot of people claim to be Witches who are merely unsavory characters. When you meet someone who calls herself a Witch, listen carefully to your underlying feelings and intuitions. The rituals of many covens are secret, but you should be told or shown enough about them to form a fairly clear picture of what goes on. A true coven will never ask you to do something you feel is wrong for you. Any form of force, coercion, or high-pressure sales tactics is contrary to the spirit of Witchcraft. Real Witches will let you take the initiative in seeking them out.
Witchcraft is not for sale. There are no fees for initiation, and it is considered a breach of ethics to charge money for coven training. Of course, Witches who teach public cla.s.ses or work as psychic counselors are allowed to charge a fair fee for their time and labor. They will not, however, sell you "blessed" candles for large sums of money or ask you to hand over your life savings in order to remove a curse: Those are favorite dodges of the con artists who prey on the gullible public. A coven may charge dues to cover candles, incense, and other expenses, but the Priestess will not be driving a Mercedes bought by the contributions of her faithful followers.
In a strong coven, members will feel close to each other and turn naturally to each other in times of stress. They generally spend time together socially outside of group meetings and enjoy each other"s company. But they also have varied and interesting outside friends and lives and do not spend all of their time together. A coven should not be a retreat from the world, but a supportive structure that helps each member function in the world more fully.
At the present time, there are far more people who want to join covens than there are groups capable of taking in newcomers. If you cannot find a congenial coven, you can either practice the Craft alone or start your own coven.
Working alone is not ideal. Opening up the starlight vision is much more difficult without the support of a group.
Those who travel the uncharted pathways of the mind alone run more risk of being caught in subjectivity. Also, working with other people is much more fun.
But, as one Witch who has practiced the Craft by herself for many years says, "Working alone has its good points as well as bad. Your training is rather erratic-but then it is in a lot of covens, anyway. The advantage is that you learn to depend on yourself and learn your limitations. When you do join a coven, you know what you want and what works best for you."
Solitary meditation and visualization practice are part of every Witch"s training. Most of the exercises in this book can be done alone, and even the rituals can be adapted. Solitary worship is far preferable to joining the wrong group.
You do not have to be a hereditary or even an initiated Witch in order to start your own coven. Naturally, training helps. But the school of trial and error is also a very fine one.
When a group of interested but inexperienced people come together, the first task is to establish a feeling of security. Openness and trust develop slowly, through both verbal and nonverbal sharing. People need time to socialize, as well as work magic. I often start groups with a potluck dinner, so that everyone can share a very tangible form of energy: food. Consciousness-raising techniques can also be very effective. We may go around the circle, letting each person tell why she or he came to the group and what she or he hopes to get out of it.
Everyone is allowed to speak for a limited period of time without interruptions, so that quieter people are encouraged to express themselves and more voluble individuals do not dominate the conversation. Questions and comments come after everyone has had a turn to speak.
Nonverbal sharing is also important in creating group trust. The following exercises teach the sensing and sharing of energy, which is the basis of Craft rituals. They can be done, singly or flow into a smooth sequence. I have written down what I say when leading a group through the exercise. In guiding a group, the actual words spoken are less important than the rhythm of your voice and the timing of pauses. The only way to learn this is by practice. Read through the exercises, become familiar with them, and then improvise in your own natural speech patterns.
EXERCISE 3: SENSING GROUP ENERGY.
"The energy we talk about in Witchcraft is real, a subtle force that we can all learn to perceive. Right now, as we are sitting in the circe, be aware of the energy level in the group. Do you feel alert? Aware? Excited? Calm or anxious? Tense, or relaxed? (Pause.) "Energy travels up and down your spine. Now sit up, as erect as you can without straining. Good. Notice how the energy level has changed. Do you feel more alert? More aware? (Pause.) "Your breath moves energy in and out of your body. It wakens your body"s centers of power. So take a deep breath. Breathe deep . . . breathe all the way down. Breathe from your diaphragm . . . from your belly . . . from your womb. Your stomach should push in and out as you breathe . . . loosen your pants if you need to. Fill your belly with breath. Feel yourself relaxing, recharging. Now notice how the energy of the group has changed.
(Pause.).
"Now let"s reach out and take hands, inking ourselves together around the circe. Continue to breathe deeply. Feel the energy move around the circle. It may seem like a subtle tingling, or a low heat, or even a sensation of cold.
We may all perceive it differently. Some of us may see it-dancing like sparks in the center of the circe. (Long pause.) (To end here:) "Now take a deep breath, and suck in the power, as if you were sucking through a straw. Feel it travel down your spine, and flow into the earth. Relax." (Or go on to the next exercise.) EXERCISE 4: GROUP BREATH (To begin here, say:) "Let"s take hands around the circe and sit (or stand) up straight.
"And now, cosing your eyes, let"s breathe together-breathing the deep breath of the belly, of the womb.
Inhale . . . (slowly), exhale . . . inhale . . . exhale . . . inhale . . . exhale . . . feel yourself relax, as you breathe. Feel yourself become strong with each breath . . . become refreshed . . . with each breath . . . feel your worries floating away . . . with each breath . . . become revitalized ... as we breathe together . . . inhale . . . exhale . . .
inhale . . . exhale . . .
"And feel our breath as it meets in the center of the circle ... as we breathe as one breathing one breath . . .
inhale . . . exhale breathing one circle . . . breathing one, living organism . . . with each breath . . . becoming one circle . . . with each breath . . . becoming one . . ." (long pause). (End as in Exercise 3, or go on.) When everyone is si ent, allow a quiet time of relaxation. Before the group has time to get restless, earth the power as in Exercise 7.) EXERCISE 5: GROUNDING: THE TREE OF LIFE.
(This is one of the most important meditations, which is practiced individually, as well as in the group. In solitary practice, begin by sitting or standing erect, and breathing deeply and rhythmically.) "And as we breathe, remember to sit erect, and as your spine straightens, feel the energy rising . . . (pause).
"Now imagine that your spine is the trunk of a tree . . . and from its base roots extend deep into the earth. . . into the center of the earth Herself . . . (pause).
"And you can draw up power from the earth, with each breath . . . feel the energy rising like sap rising through a tree trunk...
"And feel the power rise up your spine . . . feel yourself becoming more alive . . . with each breath . . .
"And from the crown of your head, you have branches that sweep up and back down to touch the earth . . . and feel the power burst from the crown of your head . . . and feel it sweep through the branches until it touches the earth again making a circle . . . making a circuit. . . returning to its source . . .
(In a group:) "And breathing deeply, feel how all our branches intertwine . . . and the power weaves through them . . . and dances among them, like the wind . . . feel it moving ..." (long pause).
(End as in Exercise 3, or go on.).
EXERCISE 6: POWER CHANT.
(This should always begin with a Group Breath -Exercise 4.) "Now let your breath become sound . . . any sound that you like ... a moan . . a sigh ... a giggle ... a low hum ... a howl ... a melody . . . chant the wordless sounds of the vowes ..."
(Wait. In a new group, there may be silence for a moment. Slowly, someone will begin to sigh, or hum very quietly. Others will gradually join in. The chant may develop into a strong hum, or a swelling wave of open-throated notes. People may begin to chortle, bark, or howl like animals, if they feel so inclined. The chant may peak suddenly, and drop to silence, or it may rise and fall in several tides of power. Let it direct itself.
EXERCISE 7: EARTHING POWER.
(Also called grounding, earthing power is one of the basic techniques of magic. Power must be earthed every time it is raised. Otherwise, the force we feel as vitalizing energy degenerates into nervous tension and irritability. In the earlier exercises, we grounded the energy by sucking it in and letting it flow through us into the earth. That technique is often useful when working alone.) "Now sink to the ground and relax. Place your palms flat on the ground, or lie flat. Let the power sink through you into the earth." (Even if you are meeting in a penthouse fifteen floors above the earth, visualize the energy flowing down to the actual ground.) "Relax, and let the force flow through you ... let it flow deep into the earth . .
. where it will be cleansed and renewed. Relax and let yourself drift peacefully."
These five exercises contain the essence of a Craft ritual. The circle is cast by taking hands; power is raised, shared, and earthed. Sharing of drink and food generally follows-magic is hungry work! As the cup is pa.s.sed around, toasts are made and people express thanks to the G.o.ddess for good things that have come to them. This part of the meeting is relaxed and informal, a good time for sharing impressions and discussing what has gone on. People may move out of the circle at this time, but the meeting must be formally ended before anyone goes home. Meetings that dribble off at the end leave people without a sense of closure and completion. If magic has been worked, the energy absorbed then tends to turn into anxiety and irritation, instead of peace and vitality. A meeting can be ended quite simply by having everyone take hands and say together: The circle is open, but unbroken, May the peace of the G.o.ddess go in our hearts; Merry meet, and merry part.
And merry meet again. Blessed be.
A kiss is then pa.s.sed around the circle (clockwise).
Sharing poems, songs, stories, pictures, and creative work in the circle also helps build a feeling of closeness. In Honeysuckle, when we are taking in a group of new members we devote an evening to sharing our life stories in the circle. We also jog together regularly and have gone backpacking as a group. Compost occasionally makes "excursions"-for example, to the Chinese Moon Festival parade. We devoted one meeting to watching The Wizard ofOz on television and to skipping down the street singing "Follow the Yellow Brick Road."
As the group grows more unified, certain interpersonal conflicts will inevitably arise. and The very cohesiveness of the group itself will make some members feel left out. Each person is part of the whole, but also an individual, partly separated from the rest. Some people tend to see the group as a solid ent.i.ty that completely enfolds everyone else, while they alone are partly left out. s.e.xual attraction often arises between coveners, and, while the first bright flush of love will draw power into the group, a quarreling couple will cause disruption. If the two break up, and no longer feel they can work in the group together, a real problem arises. A coven leader who is strong and charismatic often becomes the focus of other members" projections. She may be seen as the all-giving earth mother, the eternally-desirable-yet-unattainable woman, or the all-wise prophetess. It is always tempting for her to believe these flattering images and psychically feed on the energy charge they contain, but if she does she stunts her own growth as a real human being. Sooner or later, she will fumble and the image will be shattered; the results can be explosive.
A certain amount of group time and energy spent on resolving interpersonal conflicts is necessary and desirable, part of the growth process that goes on in a healthy coven. But it is all too easy for a group to degenerate into a sort of amateur encounter session or shouting match. A coven cannot function as a therapy group. Problems between members can sometimes be solved more effectively by using magic than by endless discussion. For example, instead of verbally rea.s.suring an insecure covener, place her in the center of the circle and chant her name. If two members cannot work together, but neither wants to leave, the group may need to cast lots; leaving the decision up to the G.o.ddess. And if a Priestess seems in danger of being seduced by her own public relations campaign, the less star-struck members of the group should gently tell her so. Objective, constructive criticism is one of the great benefits of the coven structure.
A coven becomes a safe s.p.a.ce in which members feel free to release their inhibitions: laugh, dance, act silly, burst into song, chant spontaneous poetry, make bad puns, and let Younger Self come out and play. Only then can the higher states of awareness be reached. Many techniques have been developed to drop the "censor" of Talking Self and to let the inner voice speak freely.
Nudity is one such technique. When we take off our clothes, we drop our social masks, our carefully groomed self-images. We become open. The mystical meaning of the naked human body is "truth." Different people need different levels of private s.p.a.ce; while some romp happily on nude beaches, others cannot feel comfortable naked until trust has been built over a long period of time. In our covens, public rituals are always clothed. If guests invited to private "sky-clad" ceremonies feel uncomfortable disrobing, they are welcome to wear whatever they like. Vulnerability cannot be forced on anyone, except destructively.
Here is one of the exercises we use to begin opening the inner voice and releasing the blocks to expression: EXERCISE 8: WORD a.s.sOCIATION TRANCE (Everyone should lie down and position themselves comfortably. Turn off the lights. Begin with a Group Breath -Exercise 4. When everyone is relaxed, proceed:) "Now we"re going to go around the circle, clockwise. I"ll start by saying a word, and the next person will say the first word that pops into her mind, Then the person after that will respond to her word, and so on, around the circle. Don"t think about the word, just relax, breathe deep, and let it come."
(Start. The sequence might go like this:) "Green/Pea/Soup/Hot/Cold/lce/Snow/White/Black/Bird/Fly/Sky/Starry/ Night/Dark."
(After a few rounds:) "Now we"re each going to repeat the last person"s word before we add our own."
(The sequence might go like this:) "Dark Cave/Cave Bury/Bury Deep/Deep Sea/Sea Wave/Wave Flag/Flag Star/Star Light/Light Ray/Ray Sun."
(After a few rounds:) "Now we"re each going to repeat the last two words before adding our own."
(Now the sequence might run like this:) "Ray Sun Shine/Sun Shine Day/Shine Day Forever/Day Forever Night/Forever Night Sky/Night Sky Star/Sky Star Light."
(This is an actual invocation we use, which was created by a group during this exercise. As the trance continues, words become ent.i.ties in themselves. The combinations form constantly shifting scenes, which flash vividly before the inner eye. Gradually, the cycle may die away, and people simply describe what they see) see a dark sky, dotted with a million stars-one of them shoots across the sky . . ."
"I see a blazing comet, with a golden tail trailing behind ..."
"I see a trailing peac.o.c.k"s tail with iridescent eyes ..."
"I see an eye looking at me . . ."
"I see a face, the dark face of a beautiful woman ..."
(Descriptions may be elaborate or simple. Some may obtain striking visions, others hear sounds or voices, or fee new sensations. A few people may drift off to sleep. After a time, the group will fall silent, each member floating in her own vision. Allow time for everyone to fully experience her inner world, then say:) "Now breathe deeply and say farewell to your visions. In a moment, we"re going to open our eyes and awaken, fully and completely, feeling refreshed and renewed. When I count to three, we will open our eyes and wake up.
Now take a deep breath . . . inhale . . . exhale . . . one . . . two . . . three. . . . Open your eyes, and awaken, refreshed and renewed."
It is extremely important to bring everyone fully back into ordinary consciousness. Turn on the lights and change the atmosphere completely. Share food and drink (but not alcohol); move around and talk. Otherwise, partic.i.p.ants may remain slightly entranced, a condition that becomes draining and depressing.
This is especially good for opening up the creative imagination and could be used in art or writing cla.s.ses as well as in covens.
Ritual is partly a matter of performance, of theater. Some people delight in this aspect of Witchcraft; others become shy and frozen in front of a group. The quieter coveners, however, may channel power in other ways.
Brook, for example, rarely wants to cast the circle or invoke the G.o.ddess, but when she chants, her voice, ordinarily pleasant but unremarkable, becomes an eerie, more-than-human channel for power.
Magical training varies greatly from coven to coven, but its purpose is always the same: to open up the starlight consciousness, the other-way-of-knowing that belongs to the right hemisphere and allows us to make contact with the Divine within. The beginner must develop four basic abilities: relaxation, concentration, visualization, and projection.
Relaxation is important because any form of tension blocks energy. Muscular tension is felt as mental and emotional stress, and emotional stresses cause physical and muscular tension and di"s-ease. Power trying to move through a tense body is like an electric current trying to force its way through a line of resistors. Most of the juice is lost along the way. Physical relaxation also seems to change brain wave patterns and activate centers that aren"t ordinarily used.
EXERCISE 9: RELAXATION.
(This can be done in a group, alone, or with a partner. Begin by lying down on your back. Do not cross your limbs. Loosen any tight clothing.) "In order to know how relaxation feels, we must first experience tension. We are going to tense all the muscles of the body, one by one, and keep them tense until we relax our entire bodies with one breath. Don"t cench the musces so they cramp, just tense them lightly.
"Start with your toes. Tense the toes in your right foot . . . and now your left foot. Tense your right foot . . . and your left foot. Your right ankle . . . and your left ankle ...
(Continue throughout the whole body, part by part. From time to time, remind the group to tense any muse es that they have let slack.) "Now tense your scalp. Your whole body is tense . . . feel the tension in every part. Tense any muscles that have gone slack. Now take a deep breath . . . inhale . . . (pause) . . . exhale . . . and relax!
Relax completely. You are completely and totally relaxed." (In a sing-song tone:) "Your fingers are relaxed, and your toes are relaxed. Your hands are relaxed, and your feet are relaxed. Your wrists are relaxed, and your ankles are relaxed."
(And so on, throughout the entire body. Periodically pause and say:) You are completely and totally relaxed. Completely and totally relaxed. Your body is light; it feels like water, like it is melting into the earth.
Allow yourself to drift and float peacefully in your state of relaxation. If any worries or anxieties disturb your peace, imagine they drain from your body like water and melt into the earth. Feel yourself being healed and renewed."
(Remain in deep relaxation for ten to fifteen minutes. It is good to practice this exercise daily, until you can relax completely simply by lying down and letting go, without needing to go through the entire process. People who have difficulty sleeping will find this extremely helpful. However, do not allow yourself to drift off into seep.
You are training your mind to remain in a relaxed but alert state. Later, you will use this state for trance work, which will be much more difficult if you are not in the habit of staying awake. If you practice this at night before sleeping, sit up, open your eyes, and consciously end the exercise before dozing.
Many of the other exercises can be most effectively practiced in a state of deep relaxation. Experiment to find what works best for you.) Visualization is the ability to see, hear, feel, touch, and taste with the inner senses. Our physical eyes do not see; they merely transmit nerve impulses touched off by light stimuli to the brain. It is the brain that sees, and it can see inner images as clearly as those in the outer world. In dreams, all five senses are vivid. With practice, most people can develop the ability to use the inner senses vividly while awake.
Some people naturally see images; others may hear or feel impressions. A few people find it difficult or impossible to visualize, but most find the facility will improve with exercise.
Visualization is important because it is through internal images and sensations that we communicate with Younger Self and the Deep Self. When the inner senses are fully awake, we may see visions of extraordinary beauty, smell the blossoms of the Isle of Apples, taste ambrosia, and hear the songs of the G.o.ds.
EXERCISE 10: GROUNDING AND CENTERING.
Before beginning visualization practice, we should ground and center ourselves. This is again one of the basic techniques of magica work. Grounding means to establish an energy connection with the earth. The Tree of Life exercise is one method of grounding. Another is to visualize a cord or pole extending from the base of your spine into the center of the earth. Center yourself by aligning your body along its center of gravity. Breathe from your center-from your diaphragm and abdomen. Feel energy flow up from the earth and fill you.
Grounding is important because it allows you to draw on the earth"s vitality, rather than depleting your own.
When channeling energy, it serves as a psychic lightning rod-forces run through you into the earth, rather than "burning out" your mind and body.
EXERCISE 11 : SIMPLE VISUALIZATIONS.
This exercise is for those of you who have difficulty visualizing. Ground and center. Close your eyes, and imagine that you are looking at a white wall or a blank screen. Practice visualizing simple geometric forms: a line, a dot, a circle, a triangle, an ellipse, and so on.
When you are able to see the forms clearly, visualize the screen in ni or: red, yellow, blue, orange, green, violet, and black in turn. It may help to look at a colored object with your eyes open, first-then close your eyes and mentally see the ni or.
Finally, practice visualizing the geometric forms in various coors. Change the coors and forms until you can mentally picture them at will.
EXERCISE 12: THE APPLE.
Visualize an apple. Hold it in your hands; turn it around; feel it. Feel the shape, the size, the weight, the texture.
Notice the color, the reflection of light on its skin. Bring it up to your nose and smell it. Bite into it, taste it; hear the crunch as your teeth sink in. Eat the apple; feel it side down your throat. See it grow smaller. When you have eaten it down to the core, let it disappear.
Repeat with other foods. Ice cream cones are also excellent subjects.
EXERCISE 13: THE PENTACLE.
Visualize a line of flickering blue flame, like a gas flame from a Bunsen burner. Now mentally draw a pentacle, a five-pointed star with one point up, in the invoking direction, starting at the top and moving down to the left.
Watch it form out of the blue flame. Hold the image in your mind for a few moments.
Now retrace it in the banishing direction, starting at the lower left-hand corner and moving up. As you do so, watch it disappear.
Practice until it comes to you easily. This visualization is part of casting a circle.
EXCERCISE 14. THE KNOT.
Visualize yourself tying a knot-any knot you can tie easily in reality. Try not to see a mental picture of yourself from outside; instead, put yourself in the picture. See your hands moving, and feel the string. Feel every movement you would make, then draw the knot closed, and feel the string pull taut. This visualization is used to bind spells.