Witchcraft

(This is an excerpt from a University Of Metaphysical Sciences course at www.umsonline.org,
please feel free to visit the school website)

Introduction
Review Of Literature
Historical Witchcraft And Wicca History
Wicca
Magick
Tools Of Modern Witchcraft
The Use Of Herbs
Calendar System
The Rites Of Passage
Techniques
Creating Sacred Space
Casting A Circle
Grounding
Centering
Cleansing
Consecration
Voicing
Visualization
Energy
Journeying
Ethics
Meditations And Exercises
Grounding-Journey
Centering Journey
Energy Exercise
Spell Example
Chants And Castings
A Circle Casting
Growth Chant
Spirit Chant
Bibliography

Written by Nova Love

Introduction

The craft practiced by those who may be recognized as a "witch" is an evolving methodology. Webster's Dictionary defines "craft" within this context as "a special skill, art or dexterity...an occupation requiring special skill...members of a skilled trade." An exploration of what and who is a witch, and what special skills are involved, may help bring into focus what witchcraft is, has been, and likely will become.

The study of witchcraft is relevant to many in that according to recent surveys Wicca, the religion that embraces witchcraft, is the fastest-growing spiritual movement among certain age groups in the English speaking world. We read in People Of The Earth, during an interview with Oberon Zell-Ravenheart, "Well, the growth is exponential, and this explosion of growth will continue. As it does, we will have larger numbers of people...We have to find ways of dealing with that, because we will be getting more people all the time." Though not all Wiccans are witches and not all witches are Wiccan, there is enough correlation to link the two for purposes of general study.

Non magick-using people generally consider magick to be "not real" Cultural conditioning enforces this belief in the adult population with a "get real," "grow up" response to those fairytale ages in children. Other non magick-working people believe magick to be supernatural or paranormal. However, witches work from a context within which magick is natural, normal, and is in fact often necessary to successful healthy living.

Witchcraft is Paganism's active arm: that is, it is the active response to a belief system in which humans coexist seamlessly with Nature. Nature includes that which can be seen, as well as that which is unseen. Modern majority religious expressions and beliefs, which is non-animist, non-pantheistic and largely monotheistic within the major sects of today, are the historical exception worldwide.

Charlene Spretnak says in Lost Goddess Of Early Greece (1978), "When compared to the religions of the Goddess in Europe and elsewhere, the Judeo-Christian tradition was born yesterday. In fact, the very notion of supreme deity being male, i.e., ultimate power, is a relatively recent invention. Zeus first appeared around 2,500 B.C. and Abraham, the first patriarch of the Old Testament, is dated by Biblical scholars at 1800 B.C.; in contrast, some of the Goddess statues are dated at 25,000 B.C."

Witchcraft is an evolving human construct whose modern manifestation provides form and foundation for what is thought by some to be a vibrant, viable, psycho-religious worldview. For those who consider themselves as "witch," a cultural identity is oftentimes formed through research and active participation in the contemporary "craft." Witchcraft today is practiced by diverse people in a pan-global context that has a wide footprint with many differences, yet even more fundamental similarities.

Witchcraft is the technology employed by a pan-global minority population to accomplish the skill-set unique to them; that being magick or "The Craft." Witchcraft is believed to be a natural reaction to life and a survival technique developed by humans as consciousness distinguished itself in social evolution. Witchcraft is also believed to be the external expression of humanity's psychic connection to that which can be perceived of the Universe. It is an organic, cooperative relationship with the Universe carried on at deliberately heightened states of awareness and sensitivity.

The creation of magick is not unique to witches, but the populations of magick-using people are so small in ratio to non-magick-using people that a detailed discussion of the difference between magickal people is fit for further study elsewhere.

The terms "witchcraft" and "witch" as definitive identifiers has evolved. The power to name an aspect of life is long recognized as the fundamental step in acquiring power over that aspect, as stated in The Witch Book (2002), "To know the most secret name of a god is to have power over that deity... certain names are believed to have intrinsic power..." Therefore those in control of defining "witchcraft" have controlled the basic role of human relationship to those named. The use of the "K" at the end of the culturally excepted word "magic" is an example of reclaiming the definitive power process for magick-using people. Popularized by Aleister Crowley, the "K" is used to distinguish the work of the magick-users from that of the stage magician or illusionist.

The definitive term "witchcraft" is now in the hands of those who self identify with it. Therefore, what witches do now defines who and what witches are. Witchcraft therefore becomes uniquely discernible, as skill sets and a focused identity has emerged and continues to evolve a distinct form and face within a greater community of nature-based peoples. As practiced by modern people in an age of eclecticism, the boundaries of The Craft are wide, gray, and contain much overlap with other contemporary holistic practices. Also, as a non-dogmatic worldview, witchcraft coexists in belief and practice with whatever other religious, scientific, occult, spiritual, fantastical or agnostic concepts the practitioner might hold. For the purposes of this course neo-pagan eclectic witchcraft is the focus of study.

Witchcraft: Index >>

Review Of Literature

A History Of Pagan Europe (1999) by Prudence Jones and Nigel Pennick is a book to be read from cover to cover by any serious student of paganism. It is especially informative about the see-saw of power after Christianity gained a mass following in the heretofore polytheistic Mediterranean area. It is an eye-opening account of reciprocal cruelty, linking all of European descent to violent forebears.

Black Elk: Sacred Ways Of A Lakota (1991) by Wallace Black Elk and William S. Lyon is a rich biography of a Native American "Earth Man." Sharing his knowledge and wisdom about working through prayer with Spirit entities, this work is relevant to witchcraft and remains one of the most humorous reads authored by a renowned energy mover.

Celebrate The Solstice (1993) by Richard Heinberg is a book that puts lists of ideas for rituals and a pan-global history of solstice practice into a quick, basic format. It is not a research text, but a good possibility to grab the day before a ritual when the preparation is just beginning.

Contemporary Paganism (1997) by Graham Harvey, is very general, as all books must be which endeavor to span the breadth of a large topic without becoming cumbersome, this one provides about one page of information on dozens of topics. This would be a marginal first book to read by someone called to witchcraft. It is written in a straightforward voice, well researched and is non-critical. It is a book one may never pick up again after finishing, but good to pass along to other interested students.

Cosmic Trigger, Final Secret Of The Illuminati (1997) by Robert Anton Wilson, when it finds you, will, by design shake any and every belief you think you have about the self and humanity. This is the kind of work that strips open the mind, shocks the psyche and lays bare the vessel of process, perfect for any would-be witch who does not know the scope of The Mystery. This book is especially relevant for the example of how forces energized (when one works on an increased vibration) have a tide and possibly a purpose that sweeps one up into the wave of destiny.

Earth Air Fire Water (1990) by Robin Skelton and Margaret Blackwood, is a large volume of songs from British writers collected in one place. Witchy, pagan, rustic rhymes and ballads read like poetry on nearly 300 pages. With no musical notation the original melodies and format can only be guessed at or intuited. Many are written in a singsong meter, which makes voicing or singing a cappella entirely possible. Spells, charms, curses, blessings, invocations and more are to be found in this text.

Kahuna Magic (1981) by Brad Steiger is an easily digested foundational work discussing why magick, the craft of the witch, works from the perspective of Hawaiian adepts. Much of modern knowledge and understanding of the psychological dimension of witchcraft will be traced to the inspiration of this book, Max Freedom Long, who was a vanguard in 20th century magickal studies. The author has a broad journalistic knowledge base, and writes on specific studies with attempted detachment.

Lost Goddesses Of Early Greece (1994) by Charlene Spretnak, tells us nearly all of our modern exposure to Western mythology, the only means by which many pagan topics have been kept alive for the last two centuries, has been through Greek mythology. However, virtually all the stories are Olympian as presented by Hesiod or Homer. This small book re-creates the pre-Hellenic, pre-patriarchal stories of the well-known names Athena, Pandora, Diana, and more in a positive light to the Feminine Divine.

People Of The Earth (1996) by Ellen Evert Hopman and Lawrence Bond, contains interviews with over 50 of paganism's current leaders and teachers. Categorized in 17 traditions, a broad spectrum of opinions, biographies, and explorations are presented. Through responses to simply stated queries, the reader can learn about the nuances of today's choices within the realm of Earth Spirituality and which of these resonates most harmoniously with themselves. Knowing who your leaders are and where they came from, along with what their personal beliefs are, is advisable to any person in any walk of life.

Psychedelic Shamanism (1994) by Jim DeKorn is a useful text to any who explore mind and consciousness altering plant medicines. This book emphasizes the history and current cultural uses of psychotropic plants, along with empirical experimentation of nearly all known available psychedelics. A distinction of this work is the inclusion of "how to" preparations for the many other psychotropic books that shy away from this. Illustrations, and clearly written first-hand knowledge, guide readers toward coming to their own decisions on which, if any, of the psychotrops they might use for spiritual exploration.

Sacred Pleasure (1996) by Riane Eisler is a book that presents our modern connection to the human past in an attempt to discover a healthful relationship with sexuality. Probing history and facing current manifestations of pleasure, the reader is led to reaffirm the sacredness of our capacity to "feel" within the sexual context. Mythology, prehistory, and gender issues, along with politics, all fill the pages of this well researched work by the author of one of witchcraft's most influential titles The Chalice And The Blade. Love and sex are sacred. This book explains why as it shows us where we've been and where we're going.

Shakti Women (1991) by Vicki Noble, explores the reemergence of the Divine Feminine and earthly feminism is critical to modern witchcraft. This book is one of the top three most influential handbooks for understanding what has been suppressed for nearly 5,000 years: the power of the female. Empowered modern Shakti women need to be well informed in history, mythology, Shamanism, and the art of wielding power. This text delivers fundamental information on these topics and more. A confrontation with the whole picture of the feminine is necessary to re-establish personal and Universal balance for both women and men of today.

The Pagan Book Of Living And Dying (1997) by Starhawk is an extensive text reclaiming traditional views, rituals, songs, prayers and more regarding the death experience. As this tradition is an amalgamation of other pagan styles, this book offers a wide array of ideas and gifts. Musical notation and step-by-step ritual suggestions, along with guided meditations, fill the pages with clear dissertations on most pagan topics.

The Spiral Dance (1989) by Starhawk is one of the modern cornerstones of The Craft. This book is an essential reference guide. The author has established herself as the pre-eminent voice and teacher of viable witchcraft whose influence reaches all the eclectic and quasi-traditional aspects of today's Craft. Both well researched and imaginatively creative, the exercises, verbalizations, and explanations are presented with exactitude, and are tempered with an invitation to co-create any and all aspects of one's personal spirituality. Starhawk presents witchcraft as a Goddess religion with both facts and fancy selected from the best that is currently available on the subject. She combines this with decades of self-involvement in magick and related culture.

Dreaming The Dark (1997) also by Starhawk, explores the context of a magick-using person, both the politics of personal power and societal issues. Today's witches and their issues are well covered by the author in this work. Ethics are re-examined and contrasted with the prevailing cultural paradigm, revealing an opportunity and a responsibility to move into a present and future of sustainable existence both spiritually and materially. This book contains an Appendix dedicated to "The Burning Times" which is seminal to neo-pagans and fundamental to magickal feminists' belief.

Entering The Summerland (1996) by Edain McCoy is a book like many on the shelves these days, offering a variety of semi-specialized rituals for certain aspects of paganism, dying and death being the forte here. The psychological, psychic, and spiritual aspects of death and loss within a magickal worldview are visited. A Pan-global history of death beliefs and exercises throughout the pages may be useful to readers, especially those who have, or soon will, experience loss or death.

Way Of The Peaceful Warrior (1980) by Dan Millman is not a text associated with witchcraft. Rather its story is informational and inspirational to any who are called to work on a higher level of vibration. Similar to The Teachings Of Don Juan by Carlos Castaneda, the theme blossoms as a student learns to live in a completely different way, a way which is absolutely compatible and ideal for any witch to aspire to. This book is a mystical, humorous and inspiring read, truly "a book that changes lives."

A WiseWoman's Guide To Spells, Ritual And Goddess Lore (1995) by Elisabeth Brooke is another basic text on witchcraft from a feminine perspective. Brief descriptions of ritual, tarot, festivals, and herbalism are included, along with an emotionally written "herstory." This is not a heady, heavily embellished researched work, but a rustic hands-on guide written from a place of experience with thoughtful care and a well-rounded perspective. The illustrations are original and may prove helpful to those who benefit from visual representations.

The Witch Book (2002) by Raymond Buckland is a true encyclopedia of all things magick. This A-Z guide written by one of the best-known names in paganism is the quintessential reference text witches have long awaited. Drawing from his library of research material, detailed explanations and illustrations abound within this book. Being recently published, the information is up to date. The author's experience spans 40 years of personal involvement in The Craft at the highest level, assuring a breadth of understanding not available in most of today's available sources. A turn to any page in this book will avail one the opportunity to delve deeply into the witch's world, both past and present.

Witches And Wizards (2000) by Anton Adams and Mina Adams is a great reference book. Of the many available books on witchcraft, this slick presentation can be handy as a quick reminder of various aspects of witchcraft. The photos and paintings are particularly well presented while the verbiage is curt and tertiary.

Year Of Moons, Season Of Trees (1991) by Pattalee Glass-Koentop is a book that brings modern magick users to a cyclical system of observance and ritual that centers around an interpretation of Celtic tree magick. The trees sacred to British Celts are interwoven into a 13-moon format, including some correspondence charts that may be useful for those interested in the Ogham. A short selection of songs and chants round out this book. The illustrations by Robin Wood are an inspiring addition.

Sacred Art, Sacred Earth (1993) is the visionary autobiography of Heyoka Marrifield, a master jewelry artist. His birth as an artist is a journey into the process of exploration that touches many magickal elements. Choosing Earth based and mythological images to reflect the magickal training he undergoes, Heyoka is able to inspire others and channel Spirit and beauty, which are the fruits of witchcraft. The wisdom of his words completes this stunning book while the photographs chronicle a premier jeweler of our day.

Witchcraft: Index >>

Historical Witchcraft And Wicca History

There is no history of witchcraft in the way that there is a history of Christianity, Islam or Buddhism. There is a history of Wicca, which we will explore shortly, but witchcraft is inseparable from human evolution. As such, the contemporary expression of witchcraft has mirrored the needs of the human communities throughout time, and is inclusive to each geography. Modern witchcraft cannot be separated from and traced via an unbroken lineage distinct from human spiritual development.

As described earlier those who sought to control the people, and things they were describing, wielded the title "witch" and the term "witchcraft" prior to the early 1900s. Starhawk explains in the appendix of Dreaming Of The Dark (1997), "In 1484, a papal bill by Pope Innocent VIII declared witchcraft heresy and extended the power of the inquisitors to hunt witches in southern Germany. In 1486, the Dominican inquisitors Kramer and Sprenger published the Malleus Maleficarum (called "The Hammer of the Witches"), which became the witchhunters manual for the next two and a half centuries."

Historical reference to witchcraft gives few unbiased clues related to where in the process of evolution witchcraft may have been. Modern study of this field however provides relevant information from an array of practitioners and academicians to the questions: What is witchcraft and who are witches?

Prior to 1951, the year when England repealed its laws forbidding witchcraft students of the occult, did not openly embody the word witchcraft. Quoting Gerald Gardiner in The Witch Book (2002), Raymond Buckland writes, "Crowley knew of witchcraft but considered it 'too tame' and never practiced it." In the 50 years prior to Gerald Gardiner, a renaissance of magickal study and practice occurred and became the foundation stones from which witchcraft as we know today was built. Gerald Gardiner was a well-known witch.

The choice to identify oneself as a witch and the decision to reclaim the power of the definers of witchcraft is modern. Wicca is the most popular modern outlet for witchcraft. Raymond Buckland writes in The Witch Book (2002), "Wicca is the preferred word for 'Witchcraft' with most Witches today, since it does not carry the negativity associated with the stereotypical witch promoted by Christianity. It denotes the positive, nature-oriented pagan religion derived from pre-Christian roots."

Witchcraft: Index >>

Wicca

Though not all Wiccans practice magick, a familiarity with the concepts of witchcraft will come to any student of Wicca. The structure of practicing of Wicca is established to facilitate witchcraft. A personal choice to invest the energetic co-creational process, is all that is needed to turn on the magick within the Wiccan framework. The framework itself is a masterful collage that, by means of both intention and serendipity encompasses both ancient and modern techniques and wisdom.

While describing Druidism, Isaac Bone in People Of The Earth (1996), makes a statement true to all neo-pagan religion, "Nobody knows anymore what the old Druid mysteries were. If they say they do, they are fibbing, to put it as gently as possible. But we are rediscovering what the esoteric mysteries are..."

The Wicca practiced today is different from the Wicca of twenty years ago, and will be different still a few years from now. Gavin Frost is quoted in People Of The Earth (1996), "The tradition that I was initiated into would be far too chauvinistic to go over today." As an emerging, evolving religion each individual alters the picture of the whole movement. Popular media is now involved in creating the identity of Wicca and subsequently a "pop" witch culture now exists. Empowerment is likely the draw that brings many to Wicca, and subsequently to witchcraft, in some form or other.

The educated leaders of modern witchcraft have fortunately abandoned the romantic idea that Wicca is an intact ancient religion passed down secretly and at great danger throughout the last 2000 years. As newer adherents learn more, they too can release this fantasy, allowing for a belief system based on truth, not fancy. The result of knowing that Wicca is a modern creation is eventually empowering, as the student is welcomed into the reality that they are part of the co-creation of their own religion, which is a very rare opportunity indeed in today's all too often dogmatic world.

Wicca is a pagan religion. All of nature is included in the sacred family of a Wiccan. Discussing paganism in People Of The Earth (1996), Oberon Zell-Ravenheart says, "It deals with the Earth, the Goddess. It deals with Nature and with people. It includes all of that—love, sex, nature, blood, death, life, birth, and the cycle of the seasons." To be Wiccan is to be a priestess or priest oneself, as Raymond Buckland writes in The Witch Book (2002), "In Witchcraft it is believed that all are their own priest or priestess..." A personal contact with the divine as perceived by the practitioner, without the intermediary of a separate person, is expected due to the belief in Divine Immanence. Obtaining and practicing a priest/priestess-hood is built into the progressive adherence of Wicca. Maintaining the role is a process of acceptance of responsibility built upon the foundation of embodying the wisdom within the tradition of Wicca in which one works either solitarily or as a group member.

As a pagan religion, Wicca gleans as much of the worldview of pre-monotheistic humanity as can be deduced. It seeks to rediscover the benefits of the wisdoms of the ancestors of all of humanity, and to then restructure these as relevant to modern life. Cerridwen Fallingstar states in People Of The Earth (1996), "Our traditions are mostly revived traditions, reconstructed traditions. They are not old Pagan." Modern witches find that although the Industrial Revolution has changed much of outer circumstances for modern people, the long established themes of a nature-based spirituality hold the maps to a personally satisfying existence in modern context. Again from Cerridwen, "It's really joyful to find your spiritual path if you are a spiritual person. It's like finding your true love, like being in the perfect-mate relationship. You find a way of relating to God-Goddess, to Source, and it just opens your heart. It brings ecstasy and contntedness."

Concurrently, some portion of Wicca and modern witchcraft is based on conjecture, fancy, and blatant falsehoods promulgated by various persons and institutions. Less than 100 years into its existence, Wicca is already currently undergoing a reformation and re-assessment of its identity.

The history of Wicca is also a subject of much non-agreement in today's population of witches. Several traditions accept the purported lineage for each of their groups. Also to be found are those who claim a hereditary form of The Craft with each of these professing an ancient family tradition. Others admit the moderninity of Wicca openly and embrace these beliefs.The elusive and mysterious past of romanticized Wicca is traceable to the trade guilds of Europe and England. These guilds were exclusivist and contain structured hierarchy with degrees of initiation. The Masons are the premier example of this, and much of the ritual of Wicca is based upon the occult leaning interests of the 1800s and 1900s. These guilds were ostensibly Christian throughout the 15-1700's as was all of feudal Europe. In the latter 1800s and early 1900s, "Spiritualism" became popular and an occult groundswell occurred, interesting some of the influential and eccentric guild-men of the day, notably Aleister Crowley. Crowley practiced an Egyptianized ceremonial magick. Through his writings on ceremonial magick and his poetry—much of it devotional works to divine entities—he created a scorched surface and some fundamental ideas on what life outside of traditional values could be like if created on the stage of life. Crowley was not a witch, but in his last days he was visited by a man who would take the stage Crowley crafted and design a romantic story for it. The man's name was Gerald Gardiner.

Gerald Gardiner created Wicca through a combination of study, personal fancy, and will; he started a religion. From meeting with an informal group of Rosicrucians near 1938 Gardiner "realized" they were witches: Authoring his first book, titled Witchcraft Today in 1954, he became the father of Wicca. He was a well traveled man with an interest in archeology and tribal magick, and dedicated his remaining decades to "coven" work with others, notably Doreen Valiente. Together they created the fundamental Wicca.

The influences of Margaret Murray, Sir James Fraser, and other early 20th-century researchers and authors on witchcraft doubtlessly influenced these groups. The availability of any literature on the "witch cults" of history was extremely limited, and therefore those of interest all found varying amounts of this same work.

Other notables in the history of modern Wicca includes Stewart and Janet Farrar, primarily authors and researchers, the Farrars have penned a half-dozen books that are considered by many in The Craft to be foundational. Oberon and Morning Glory Zell-Ravenheart reanimated pagan reality within the container of the Church Of All Worlds, with a deep understanding of ritual, Goddess lore, and an expansive view of science fiction. The inclusivist paradigm of paganism has been established by Oberon and Morning Glory. The Gaian spirituality taken for granted by most nature based religionists was re-birthed through Oberon who also led Green Egg magazine, the pre-eminent pagan periodical of the 1980's and 1990's in which witchcraft was explained extensively.

Starhawk, author and co-creator of the Reclaiming tradition, is the most influential figure in witchcraft today. Though there are many others, the gravity of her fiction and nonfiction, and her dedication to eco-ethics, as well as her ability to facilitate massive gatherings, sets Starhawk apart as the current icon of witchcraft. Selena Fox of Circle Sanctuary, author Scott Cunningham, and Raymond Buckland also deserve mention as modern leaders and promoters/teachers of witchcraft.

The Craft is currently expressed at a detailed level, according largely to regional influences. In North America for example, East Coast witches are discernible from Midwest and West Coast contemporaries. Though reading is the fundamental medium of information exchange for pagans, leading to general consensus, the personal fleshing out of the character of witchcraft is influenced by the region resident leaders presenting public events. Charismatic personalities are not new to modern witchcraft, whose founder Gerald Gardiner certainly sets an example. Contributors today, such as Starhawk in the San Francisco Bay area, find themselves coloring large populations of practitioners, especially in their home area.

Witchcraft: Index >>

Magick

The magick of witchcraft is theoretically accessible to any who work within the framework and techniques of The Craft. This alluring aspect leads an ever-growing population into some level of practice of the "Craft of the Wise." In application, and regarding the success level of the magick, there can be found evidence that there are individuals with more natural talent and ability in magick. In People Of The Earth (1996) Cerridwen Fallingstar explains, "Some people will have more of an aptitude for it, just as some people have more of an aptitude for languages or mathematics." This minority is intrinsically drawn to witchcraft by way of some resonant energetic magnetism.

Magick is a co-creational process involving the vibrational life force of an individual or group interacting with all other elements of the present and future building forces of existence with greater than mundane influence. The belief framework of witchcraft is structured such that an increased resonant force of willpower, and or prayer, focused upon an idealized outcome will cause the outcome in some or all of its intention to be realized on the material plane.

Some of the popular working definitions of magick:

Simply stated by Oberon Zell-Ravenheart, magick is "coincidence control."

Aleister Crowley's definition is: "The science or art of causing change to occur in conformity with will."

Starhawk writes: "The art of sensing and shaping the subtle, unseen forces that flow through the world, of awakening deeper levels of consciousness beyond the rational."

Cerridwen Fallingstar discusses it as, "A magic spell is sort of like an active prayer. In some religions, people will pray for something. A spell just takes it into a little more active participation with the Universe instead of just passively asking God to give you X. It's a matter of using your consciousness to change yourself in such a way that you would be more likely to attract what it is that you want. I like the Dionne Fortune's definition of magic: that it's the art of changing consciousness at will. With a spell, you are interested in shifting your own consciousness so that you develop psychic Velcro that will attract to you what you want."

Because the steps to perform this action are all well within the capabilities of humans, the creation of magick is not supernatural or paranormal. It is currently less ordinary then simple action/reaction existence, but this is due to cultural doctrine not human limitations. Cerridwen Fallingstar is quoted in People Of The Earth (1996) "People talk about the 'supernatural,' but that is not a very good term. What we are doing here is completely natural. It is just that we're dealing with some natural laws that are not yet commonly understood or defined. We're working as pioneers in an area that has been neglected and feared even by this culture."

Witches co-create change, and in this there is connection between the modern and the historic. The goal of outcome alteration, and manipulation of life forces, is the vocation of the witch. The processes by which the energies involved in magick are created, intended, focused and expressed, these are the major thrust of witchcraft.

The fear of change, and fear of the power that accompanies the ability to bring change about, is the basis for social alienation and stigmatization of witches. Embracing change and orchestrating some of the flow within the ever present condition of change, witches are set apart as a minority population in humanity.

Witchcraft: Index >>

Tools Of Modern Witchcraft

Witchcraft tools of the trade include such items as the altar, candles, scented oils, incense, and crystals that the witch uses to create a sacred space.

The Altar is the focal point of modern witchcraft. It is a structure providing a surface upon which the remaining tools abide. Symbolically the altar represents the "All That Is," the canvas upon which reality is painted. It raises the sacred objects physically above the floor as a symbol of raising the witch's attention of these things. Edain McCoy writes in Entering The Summerland (1996): "The word altar comes from the Latin altare and means 'a high place' (read 'exalted'). When placed in a religious setting, the altar becomes a focal point for the ritual and is a resting place for the divine forces that are being called upon and/or worshipped." All the objects upon the altar are representations and also channels for the larger ideas and concepts beyond the simple objects. Because of the belief in immanence the altar objects become sacred. They are reflections and manifestations of the greater Divine.

Candles are the predominant item associated with witchcraft. This is one case where the general stereotype of the public is substantiated by actual fact. Candle use and popularity is a result of their flexibility as representational tools. Witches use the lighting of candles as an energetic marker denoting the presence of non-visible energies such as the higher self, elementals, or divinities

The flame of the candle is a focal point upon the larger focal point of the altar. The consciousness is invited to be opened to the possibility that the lit candle is in fact a channel for whatever specific thing the candle has been intended to represent. Oftentimes the wick is lit as a witch verbalizes or intends a particular desire, willingness, or command that the continued burning of the candle symbolically extends energetically after the invocation. This allows the witch the freedom to move forward in thought and deed while knowing that the intended magic within the candle continues to vibrate with consistency. An entire system of candle magic has been created to facilitate the simple and effective use of these devices. Specific wax colorations are used to stand for specific ideas. In A Wisewoman's Guide (1996), Elisabeth Brookeoffers the following information:

White: peace, purifying
Yellow: money, health, attraction
Orange: happiness, health
Purple: concentration
Blue: cleansing
Green: health, purifying, happiness
Pink: love, sexual attraction
Red: courage, anger, passion
Brown: to dispel sorrow, for growing plants
Black: hexing, returning bad vibes
Silver: clairvoyance, astral traveling, spell-making

Scented oils are also imbued into some candles with similar representational correspondences. Objects may be melted into the candle, carved upon them, or printed onto the containers holding the candle, all to facilitate the focusing effect of the candle.

Figurines are used on the altar to represent the specific greater aspect that the figurine resembles. Divinity forms are popular choices for altar figurines; oftentimes pre-modern artistic works are replicated. Witches also create their own reinterpretations of pagan iconography. New imagery is being created by current artists, and modern witches choose from all these sources the images that call to them and with which they feel affinity. In Sacred Art, Sacred Earth (1993), Heyoka Merrifield suggests, "Throughout our human family's history, we have used symbols to describe the transcendent powers that are part of our lives...The statues were placed on the family's altar and they were the center of attention for honoring the powers of creation."

Feathers oftentimes appear in a witch's regalia. Fans made of feathers are used to create air currents, useful when directing the smoke of incense. The wind created is also used to ritually purify the aural field of a recipient. The feathers found by the witch in daily life are considered gifts of the animals and concurrently gifts of the Spirit beyond and above the simple body of a specific bird. The feathers of some species are especially treasured by some magick-users such as Eagle, Hawk, Owl, Woodpecker, Raven, Crow, Blue Jay, Hummingbird, etc. A personal relationship or affinity can be felt by the association with a feather, the bird, the species or "all those with wings" as represented by the tool of the feather.

The Chalice is one of the greater tools of witchcraft. The feminine principles both earthly and divine are symbolized by the sanctified drinking vessel. A chalice is used ritualistically and functionally. In ritual it is the icon of the Goddess, and all the aspects of the life-giving element of Water. Actual drinking from the chalice by those present at a magickal working also takes place regularly; wine, beer, juice, water or any other liquid may be passed within the chalice.

Three separate blades are used as tools in The Craft; the athame, the sword and the white handled knife. An athame is a double-edged straight knife similar to a boot knife, with a handle and occasionally a hilt. Its uses include circle casting, and circle cutting, representing the divine masculine, and acting as a challenge to initiates during rituals. The athame is also symbolic of the element Air and the processes of the mind. An athame is consecrated to do no harm as a fighting weapon, it can however be used to draw blood during advanced rituals of initiation. Additionally it may be useful when creating other magickal tools in carving sigils or runes or other symbolic etchings, and during cord cutting rituals. Generally an athame is never used for mundane purposes such as food preparation. It is, however, extensively used in food blessings. The chosen color for the handle of an athame is often black, and the acquisition of this magick blade is rarely a frivolous matter.

A sword used in ritual is a dramatic, effective tool for affecting consciousness. A sword being walked around the perimeter of a circle, some witches claim, is an unsurpassed vehicle for setting a mood conducive to magickal working. Some swords are also used in ritual battle reenactments such as the biannual mythological meeting of the Oak and Holly Kings.

A smaller blade with utilitarian duties for witchcraft is the so-called white handled blade. A single edged straight knife or folding knife generally fulfills this need. While not as popular as an athame in use on an altar, this second blade will undoubtedly find itself wielded for any number of tasks. The handle color is arbitrary but having contrast to the athame handle is desirable for at least simple identification purposes. Some witches will prefer to use this blade instead of the athame for carving on other tools.

A staff lies within the working tool collection for The Craft. Generally of wood construction and a height beyond that of a simple walking stick, the staff is distinguishable from other sticks, wands, or canes. Occasionally in a purely natural state, but often decorated with iconography, its length allows a tableau for personalization. The type of wood and circumstances of acquisition are often considerations in the choosing of a staff for a witch.

In use, a staff is an energy directing and storing tool. Some uses overlap with the athame such as circle casting, allowing for variation within the structure of a pagan ritual. The staff also symbolizes Fire and willpower.

A wand is certainly an image that is synonymous with witches. The wand, like the staff, is an energy projection tool. The force of intention strengthened by the power of Will is channeled through the wand where it may be focused and amplified by the purported innate qualities of the tool. Design and material are used to manipulate the specific character of each wand. The Will and the element of Fire are symbolized by wands even more popularly than staffs.

Incense, or any material that gives off scented smoke, may be used as a tool in magick. The transformation of a solid into a vapor is considered to be a fundamental mystery, and as such is within the realm of a mystery tradition such as witchcraft. Incense symbolizes the Air element and the breath as visible prayers or spells. The smoke is used to purify people, objects and places by creating a smoke bath. It is commonly referred to as smudging.

Smudging is a pan-global practice, but modern witchcraft has doubtlessly been influenced by Native North American custom. Smudging has become beyond commonplace as a prerequisite for most magick work. There are currently scores of scented incense from around the world used by witches. Some few however are more common such as sage, dragon's blood, and copal.

The quarter and measure are good examples of witches gaining multiple magickal uses from a simple device. Cords may be of any rope-like design: string, ribbon, and braided material are often used. The magick uses of the cord reflect similar mundane processes such as binding, cutting, and knot tying. Instilling the ritualistic and increased vibrational intention into acts such as tying knots into a sanctified cord, or cutting through it, a witch is able to effect change with a minimum of regalia. Binding and protection spells utilize cords as a physical symbol of a restraining energy, as displayed by the rope. A cord is also one focal point of a hand-fasting ceremony, with the obvious symbology of an interlacing of lives ritually demonstrated.

A measure is a special personal cord, cut and tied in relation to specific body proportions. It is often used as part of initiation into a group of witches, or coven. The measure symbolizes the person for whom it is created, and is regarded as an object to be held in the strictest of trust, either by the initiate or within the coven. As a tool it may be used while creating sacred space, casting protection or worn as an insignia.

Some of the lesser tools often found on an altar and within the practice of The Craft include the pentacle, crystals, amulets, and the chosen form of dress. The pentacle is currently a symbol of the Earth element; it consists of a five-pointed star within a circle. This design is fashioned of stone, clay, or wood and is a fraction of modern witchcraft that can be traced into antiquity. Generally associated with protection and sacred space, some believe it symbolizes the five elements in totality.

Crystals are a welcome presence in most witchy settings. Often believed to store, convey and focus energy, these minerals are used in numerous ways as facilitators of change. The New Age movement overlaps witchcraft in several ways and the modern use of crystals by magick-users is undoubtedly influenced by this.

Amulets, often incorporating crystals, are handmade objects created with intention. The force of the intention is directed into the amulet with the goal of creating a time-release energy matrix that diffuses the imbued intention gradually. This tactic allows passive involvement in an energy-working, while freeing up the caster to go about life.

The choice of dress and or costuming is also a tool of witchcraft. The influence of dress affects the subconscious into a more pliable than normal state and most pagans wear various jewelry styles for similar effect. Choice of dress is open in some traditions, prescribed in others, while some traditions of the craft choose to go without clothing at all. Rarely will one find magick-working people who do not consider this aspect to some degree important or enjoyable.

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The Use Of Herbs

The use of herbs in witchcraft is a topic fit for detailed discussion in a format more expansive than available here. However, some introduction is essential. Herbology is historically indistinguishable from witchcraft. The "wise ones" were, and are often today, herbalists. The ability of plant materials to effect change in animal recipients is one facet of magick and mystery experienced by all humans and animals. The wisdom of discriminating the correct pharmacopoeia for specific ailments was historically the only craft necessary to qualify one as a witch. This was unfortunate for those known to possess this skill in the times of "Witch" persecutions. Much of our species' ancient knowledge of herb-craft is lost due to the reprehensible atrocities enacted upon these human libraries.

The most publicized and romanticized herb-craft of the witch is the use of psychotropics. These consciousness-altering plants have a long history of relationships with magick-using people, and these types of relationships have survived to modernity with tribal peoples today.

Trance induction and altered states of consciousness facilitate some of the goals of witchcraft. Freedom from the mundane thought patterns enable new mental processes to occur, and some archetypal experiences are conducive to the development of magickal skills. To this end, an array of plant materials which react with the body's chemicals have been useful to witches. Separating the fact from fiction is not possible in regard to our human predecessors' exact use of psychotropics, however at least a few species of interest have some undoubtable history. Several are of the family Solanaceae, including the best known in relation to witchcraft: belladonna, nightshade, mandrake, and datura. The flying ointments that have received much ado are concoctions of these tricky and potentially dangerous plants. The levels of toxins are manipulated to produce a mind-altering experience, but the mastery of this art is lost and modern witches only occasionally experiment with these possibly deadly substances.

There is no consensus in The Craft on the use of the many mind-altering substances available. Substances such as alcohol, marijuana, psychoactive mushrooms and others are embraced by some and excluded by others. The history of witchcraft is still being co-created, and the use of psychotropics will continue to be one aspect in the fluid picture of it.

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Calendar System

Witches use a natural calendar system for tracking the passage of time. The interaction of sun cycles, moon cycles, seasons, and astrology form a calendar network of inter-linking and overlapping nature-based time schemes.

THE LUNAR CALENDAR

The lunar calendar recognizes the phases of the visible moon cycle through its new, to full, to dark, to new, passage. This 28.6-day repetitive series is celebrated, and particular types of witchcraft are often preferably enacted during certain sections of the cycle. The belief behind this recognition is that all life on Earth is affected by the moon's force, as are the ocean tides.

The dark moon is the night of the phase often mistakenly called "new" when there is no visible sign of the moon the entire night. The symbolism is one of release and mystery and is further embodied as death. Though not a time of mourning, the mood is rarely festive, as witches take time to look within themselves, seeking to find that which is ready to be released. Because the cycle is ever renewing, death is understood as a necessary element of continuing life, allowing the space for new growth to occur as change.

The new moon appears briefly the following night as proof of renewal. It is celebrated as such, as well as a symbol for potential. Any magick concerned with new beginning would be optimally begun at this phase of the moon if the witch were following moon influences closely. The birth of the new moon has occurred in the space made available, and that symbology is reflected inward with projects, intentions, ideas or openness within the witch. The moon then waxes to the first quarter in seven nights, halfway to full. Those things begun at the new phase are seen to be maturing in force of intention.

The full moon is when the draw of the natural moon energy is greatest. The energy is believed to help facilitate magick workings greatly; therefore the full moon is recognized and celebrated joyously. Full moon ceremonies are termed Esbats, and some events that may take place are divination or initiations. Any ongoing magickal works are thought to be at a point of zenith, and outwardly following energies are the central focus.

As the moon wanes from full towards dark, the last quarter is next recognized. The magickal energies are believed to be declining towards completion, as intentions are cemented into the fabric of reality. This is a time for releasing control of ongoing spells or projects into the hands of fate, and observing closely the signs of change surrounding the circumstances of any magick work. With the beginnings of release, an opening is created for new ideas and influences to be felt, as the seedling energies for work in the next cycle begin, and the phase returns to dark and the cycle again spirals in repetition.

THE SOLAR CALENDAR

The Solar Calendar of the year is in essence what all of Western society observes as the sun's influence responsible for the seasons we all experience. Non pagan and pagan alike recognize the beginnings of the seasons summer and winter associated with the two annual solstices, and spring and fall with the equinoxes. Witches, beyond recognizing, also celebrate these times with ritual and season-specific magick. Further, the pagan calendar recognizes the halfway points between these four events thus dividing the solar year into eight equal points. The additional holidays are termed the cross-quarter days. Modern pagans, and specifically witches, have adopted the pre-Christian agrarian holidays of England and Europe as the main model for expression and celebration of the solar holidays, called Sabats.

Winter Solstice is called Yule, and is celebrated on December 21st. As the cycle of the sun begins its yearly course; it is here on the shortest day, that the length of the day will begin to extend towards summer. The symbol of the child's birth is prevalent (even being appropriated by Christians) as the wisdom of nature's cycle is trusted to bring us all from the darkest time of winter forward. Ritual, gatherings, and gifts are shared at this popular seasonal designation.

February 2nd marks Imbolc, also known as Brigid and Candlemass. At this point of the year, the returning light and warmth of the sun is undeniable. Celebrations and rituals center around this, with emphasis on the potential for growth and refinement of what is to be co-created this year. The solar child's symbology continues as the growing youth increases in strength and ability.

The Spring Equinox, also called Ostara, on March 21st is the festival celebrating new life as the product of the fertility of spring. The winter is ended and the promise of renewal is now realized in all of Nature. As an equinox, the value of balance is observed as a fleeting but poignant moment in the continuum of the cycling seasons and path of the sun. The symbols of eggs, rabbits and chicks embody the birthed potential of spring. The Goddess who birthed the solar child in some myths grows strong, while in other myths the return of the Maiden prompts the season.

Further into the cycle we encounter the high holiday of Beltane on May 1st. This holiday honors the sexual nature of our world. All existence and progression is the result of sexual union and consummated fertility, and witches sensuously celebrate this fact. The God and Goddess come together in divine copulation imbuing all the growing things with the force to grow towards fruition. The reflection of this is enacted during the ritual also known as May Day.

The Summer Solstice is the balance point to Winter Solstice as it marks the final day that the sun's reign in the sky expands. The following days will grow shorter through to Yule, and this high point is recognized as the epitome of life's expression. Boisterous growth surrounds, as Nature fed by the solar power displays a lusty bounty. The masculine principles of action and exuberance are honored as they inevitably reach a climax and begin the transfer of power towards the more sedate days to come.

August 1st is recognized as Lammas or Lughnassad and is another cross-quarter holiday. This is the first harvest holiday of the year and a time for reassessing how the work that has been done is bearing out. The cutting of the grain crops is ritualized as the funeral rights of the Sun God, and his energy within the plants is felled in conjunction with the declining influence of the sun in the sky. This is a time of feast and thanksgiving as the greatest part of the harvest still lies ahead.

The Fall Equinox is called Mabon in The Craft, and is celebrated on September 21st. The central harvest celebration is for work completed and sustenance earned. The seasonal balance is now obviously heading into the winter months and the active summer output is ending. Witches will look within at this time to gauge what needs to be prepared for winter, both physically and spiritually, "what will be brought into The Cave" is a popular phraseology. Those things in life that are beyond one's needs or have outlasted their service can be culled between Mabon and Samhain.

Samhain has become the greatest festival of modern pagans and witches. Occurring on October 31st it is the predecessor of Halloween, which retains many misunderstood elements of this old festival. Samhain is the final harvest celebration, the one in which death is considered, honored, and confronted as a tribe. Family and friends who have crossed over into Spirit are remembered, and Altars often display mementos of these spirits, including photographs in modern day witchcraft. The flocks of livestock once kept by our ancestors were culled at this time of year and the approaching Winter was understood to likely try some community members too heavily who would not survive. Many adaptations are made for this holiday by modern witches such as the dance of the stag's death, rituals to Hecate, and costumed partying. As one faces the now near wintertime of contemplation and dream, scrying and divining the future are popular Samhain activities. Samhain can be both serious and reverent and also lighthearted and festive, as the tribe walks through life's challenges together, as individuals. The cycle and spiral of life, death, and rebirth is accepted and embraced at this holiday.

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The Rites Of Passage

As a shamanic tradition, witchcraft is steeped in ritual. The seasonal and moon rituals are also joined by rites of passage rituals. Because there is no authority setting doctrine for witchcraft, there are endless passage rituals possible. Some that are popular and even expected with some practitioners include: the blessingway, pre-birth gatherings, birth celebrations, magickal naming ceremonies, entry into puberty rituals, coming of age, handfasting, marriage, initiations, graduations, and passing over into Spirit.

Modern society is poor in terms of rituals of transformation. Witches are creating all of these rituals and more, depending entirely on the needs of those involved. The belief in living a balanced and centered life leads witches to value the psychological benefits of rituals of transformation. With clarity and perspective on life, with definitive transitions from one phase of life to another, one is able to grow healthfully throughout life, facilitating wellness.

A majority of modern witches undergo a series of ceremonies of initiation, generally named first, second, and third degree priestess/priesthood. One progresses from a beginner, or neophyte, into a priest/priestess-hood, as wisdom, maturity, ability, responsibility and service expand, then ascending towards High Priestess/Priest. The further along in the process a witch is, he or she is then considered capable and responsible to channel and direct increasingly larger amounts of magick energy. A neophyte may be welcomed to participate in the raising of energy for a magic working, while the priestess/priest are likely to be participating in the ritual at varying degrees. The High Priestess/Priest is responsible for directing the energy, and also embodying the Goddess/God through evocation.

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Techniques

Creating Sacred Space

Creating sacred space is the fundamental prerequisite to doing magick work and may be done as follows: choose a place with integrity, someplace where there is both flexibility and stability. Acquaint yourself with the spot: what are its characteristics? Observe its size, shape, view, protection or exposure to the elements, until you're comfortable and at home here. Recognize that every place has both a vibrational history and present moment vibration. Begin to scan how the space feels to your intuition, what are its strengths, its memories?

Using the smoke of a chosen incense, begin to fill the air of this place with this new introduction. Useful tools include feather fans or intact wings of specific birds, or the magical broom, known as the besom, to be used to sweep away the lingering energy of the place. The smoke is used as a cleansing agent and the "Will" behind the action of sweeping is to be held with the intention to claim and clear this area for your magick work.

Allow the space to release the psychic energies previously present there. If there are Spirit entities there, they will know through your clarity of intent that it is a time for them to make way, as you delineate the physical parameters to suit your needs. Know deeply that you have the ability to command the space-making through the force of your Will. Any visualizations that assists you to accomplish the creation of sacred space is encouraged so long as they harm none. Examples of these could be waves of energy flowing before your broom in colorful patterns or white light, also imagining any non-serving entities being fractured into particles, evaporating or otherwise vacating the location.

Creating sacred space is also connected with the following techniques, and using them to complement each other is highly recommended:

Casting Circle

Casting a circle is an adjunct to creating sacred space that has become a trademark for many spiritual traditions, most especially witchcraft. Creating a vessel for magick work that is user-friendly and powerfully symbolic is the goal of circle casting. The circle or sphere within which the ritual or work takes place is a natural extension to what one views in nature, similar to a birds nest or fairy ring of mushrooms. Many of life's cycles move in a spiral or circular fashion—birth, life, death, rebirth; the sun and moon, etc. The shape occurs in Nature everywhere, and natural energy therefore is believed to flow best in these surroundings. Working in a circle also promotes equanimity and allows all present to be visible to each other. Magick energy is often directed as a spiral similar to a whirlwind, which obviously is facilitated by a circular container.

The circle also impresses the witch subconsciously, as one creates a boundary for magick work; one feels safer inside, and this is important to the process of utilizing inherent talents. The use of the circle is evolved from ceremonial magick, with North American Native influences.

The circle is often referred to as a place outside of time and space. It becomes a sanctuary within which what is possible is expanded. The circle is also a membrane of protection from whatever lies outside of its perimeter. As Spirit entities are attracted to the increased vibration of witchcraft, they seek to fulfill their needs and curiosities by coming into proximity of these increased vibrations. This can be unwelcome and distracting, even dangerous, to those working with magick; so the boundary of the circle is in place to prevent unwelcome intrusion.

The circle is usually divided up into four quadrants: the East, South, West, and North. Each of these is representative of different elements and aspects of life. To create or "cast" the circle you may begin by transitioning from the previously mentioned work in creating sacred space and positioning yourself or another person in the eastern-most spot on the perimeter of your area. Prepare to work with some amount of increased life force energy. Then extend an arm or magickal tool outward from the circle and while using increased mental focus and/or vocalizations, will an outward flow of energy from your tool or hand. This energy is physically and psychically (although unseen) tracing a line as you begin to move southward along the outskirts of your area. A popular method is to envision a colored light, usually blue emanating as you move to the next quadrant. The tools most appropriate for this work are the athame, wand, or staff.

At the southernmost point either continue transitioning yourself or pass off the task to the next appointed person. Again vocalizations appropriate for the aspects of this direction may be used, as a tracing of the boundary continues. Repeat this process until passing through the West and North and returning to the East to "close" the circle.

Many differing and similar methods for enhancing this process exist within virtually all magick-working people, and the personalization or carrying on of traditions are equally valid. Some of the more popular ideas include wielding the athame in each direction and drawing a pentagram in the air with the blade while choosing to vocalize or not. The aspects of each direction are fairly standardized and the elements are essentially universally accepted as East-air, South-fire, West-water, and North-earth. "Opening" a direction is what "invoking the elements and aspects" is often called. The voice is usually used to welcome these inherent parts of the quartered circle, but dynamic actions or chants/songs are also used along with any other successful method.

Grounding

Grounding is a technique of energy linkage, the human energy alone or with any combination of increased spiritual, or magickal energies, communicated into the physical Earth. The unique energies of the Earth as a dynamic being are also communicable from the Earth into the witch. Central to the practice of grounding is the theory of holistic interconnectedness, whereby humanity is energetically identical with all surrounding matter, with distinctions in form being the expressions of arrangement, not separation. In grounding, the witch communes with the Earth and that wholeness, which is described as deep, old, wise, stable, patient, providing, nurturing, etc. The benefits of this interaction are calming, balancing, focusing, renewing, and healing to the practitioner.

Grounding is one activity that is always appropriate regardless of the circumstance during magick work. If one feels the need to direct energy out of the self into the Earth, follow that intuition. Grounding is a safety valve against blown circuits in the body caused by overloads of spiritual energy.

Grounding is also one of the few unique gifts that humans can give to the Mother Earth. Our love and gratitude imbued energies are singularly gifted by us as a form of nurturing for the planet. One trusts that the planetary wisdom will utilize the energy influx in the most appropriate way.

Grounding is also how witches decompress and return to a normal vibrational level after a magickal working. It is not considered healthy to carry a highly increased vibrational field when not directing it consciously with focus and will. Ending a ritual or magickal working with grounding can return one to a healthful vibration.

To do grounding, kneel or sit on the ground and place your hands on the floor or Earth, palms down. Envision a flow of energy filled with gratitude and healing, while remembering your absolute dependency how everything you have ever had or experienced was of the Earth. On this flow, return some human energy to the planet, see specific areas needing help and healing if it helps you focus. Breath deeply, and especially emphasize the out breath. You may ask for the aspect of graceful reception to be brought up as a lesson, as you seek to be like the Earth, able to endure patiently and adapt constantly. Because the energy of a magickal working provides excesses of life force energy, you can retain all that you need for personal needs and healing while returning that which is beyond your needs into the Earth. Continue this until a shift occurs in your field, and a sense of calm and completion fills you.

Centering

Centering is another experience in utilizing quantum connectedness and the Universal continuum. The process includes imagining that one expression of Universal continuity is that all places are equally central in the Universe. When the Self is experienced as the axis of the spiral of cosmic movement, centering is achieved. The desired outcome of this is the "calm at the eye of the storm." From the center, all things become more readily reachable by the energetic cords, which make up the networked web of reality. Like a spider in the center of a web, a witch is most economically situated, while centered.

Centering is both personal and transpersonal. The individual is the necessary vehicle to reach the state, by methods of control and or release. The Universe can become self-conscious through the witch, and concurrently the witch can become omnipresent. To see the Universe in a grain of sand and to know that we are truly stardust, and related to "All That Is" intimately, is a powerful embodiment of an age-old wisdom.

Cleansing

Cleansing is a technique used not only for creating sacred space but also with objects one intends to use during magick. All objects have some history, going back to as far as when they were created from raw materials. Many objects witches use are crafted from natural materials, this helps to minimize the number of experiences they have undergone and thus memorized. Although all matter is as old as the Universe itself, when an object is shaped into a specific pattern, the energy of it is solidified to a great extent. This matrix of energy can be cleared of the emotional overtones and undertones imbued into it by conscious beings.

The focused work of witchcraft is executed at the highest level when the clearest conduit of connection exists between all the powers present during the magick. Having an object therefore cleansed of all previous experience patterns is a wise step in this process. Of the several ways to accomplish this, the two most often used are smudging by smoke and cleansing by water.

To perform a cleansing get to a spot in which you will not be disturbed, with the object, and a sense of clear purpose. Begin to burn incense if you plan to use smoke. If you choose water it is often preferable to add salt and or essential oils to the water, or any other herbs you feel are appropriate. The cleansing by both smoke and water is actually able to be an "all element" clearing if one understands that air and fire are present in the smoke and water and Earth (salt) are within the water. This is a particularly potent method.

Simply bathe the object in smudge smoke moving it all around completely in the stream of the smoke. Change grips several times so that the area beneath your fingers is thoroughly cleared too. Any words that you have prepared, or what comes to you and is appropriate, would be best vocalized now. Clearly state your intent to clear this object and leave it cleansed and renewed. If the object can be immersed in water without harm do so next; if not, sprinkle some non-harmful amount of water onto and around it. You may ask the water to aid in your purpose with its unique qualities of cleaning. Be grateful for the help that you are and will receive in this work. Use as much time, smoke and water as feels necessary to complete the cleansing. End by proclaiming this object cleared of its past, cleansed, and renewed.

Consecration

Consecration is the next step if one intends to use an object that has been cleansed for magickal purposes. Consecration is an act of long-term willpower that sets an object or tool apart to be used only under certain circumstances. Having these special tools is useful for the subconscious aspects of The Craft, and is a worthwhile way to connect with some of your favorite things.

In its simplest form consecration is an act of imbuing the object with a charge of energy and creating a bond between yourself and the tool. Further, more elaborate techniques are possible and popular, such as engraving or painting the object and the like.

To perform a consecration, decide ahead of time the details of your intent with absolute clarity. Collect whatever necessary equipment you'll need to complete any altering of the object and set aside the time and place. Touch the tool with your hands; hold it with renewed appreciation and gratitude that it is with you on this portion of your life journey. Speak or think clearly the words of consecration such as "I consecrate this Athame to the craft of magick, it shall draw no blood in battle, nor be wielded with fear or hatred. This blade is hereby dedicated in word and deed as my companion in Growth and Change. With grateful blessings - So Mote It Be!"

To conclude this ceremony consider adding some small token to the tool such as a length of ribbon or leather. Some choose to seal the consecration with a drop of their blood, other body fluid or lock of hair. Follow your intuition whenever personalizing a ritual, it is your best teacher.

Voicing

Voicing or verbalizing is fundamental to witchcraft. The crystallization of ideas into words is the step between pure concept, or "The Void," and actualization. Focus is a necessary trait for magick working, as one defines intentions surrounding co-creative outcomes, and language is as necessary as visualization in this process.

Sound and communication make witnessing possible, which is an internal and external catalyst for magick. Stating ideas, beseechments or commands at a time in space creates a vibration with a pond-like ripple effect, affecting all further consequences. Having others witness our words as co-creational energy is one of the strengths to group work because the expectation level is raised. Humans have always been brought to new heights as increased expectations occurred.

Some words themselves are considered to be power words when voiced. Examples of this could be Divinity names. Numerous mystery traditions include this element including Egyptian and Jewish. The words and voicing are also ways to evoke emotion, a powerhouse of increased vibration. Languaging techniques and emotive words can shift enormous events and beliefs. Skillfully used words comprise spells, prayers, invocations and other devices of witchcraft. Techniques such as meter and rhyme give the embellishments to voicing that the subconscious enjoys. Voicing is also the medium of channeling. Rituals are directed with words as well as Rites of Passage and other ceremonies.

Visualization

Visualization is used in witchcraft in order to change the consciousness and change reality. In a Universe with innumerable possibilities, one needs to create patterning in the quest for conscious co-creation. The human mind is hardwired to give visual images priority of attention due to our dependence on the eyes for survival. The deep subconscious does not distinguish between actual sights and imagined ones. Therefore, sending energy into goal driven desires is a useful form of magick. Heyoka Merrifield writes in Sacred Art Sacred Earth (1993): "The root of the word 'magic' is magh (to make and be able). The same root is found in the words 'images' and 'imagination,' both of which are important in the making of magic. Through imagination and images, the magician is able to make things happen in a way that she or he consciously controls." As the future is in part created by the collective human tide of expectation through our quantum relation to All That Is, so the circumstances of our lives can be altered with focused visualizations in a process similar to training a plant to grow towards a desired direction.

Visualization is used as a basis for many of the other techniques discussed, including: grounding, journeying, creating sacred space, etc. In The Craft the most basic tools are the most effective. The ability of the imagination to "see" altered realities in the mind's eye is the epitome of fundamental magick.

Energy

Much of what witchcraft is about is moving energy. The energy itself is mysterious by nature, even as science is finally catching up to magick-using people, in beginning to know this all-present stuff. It is still the "great mystery" as to why it acts as it does. Some techniques for working with this energy will be found in the Meditations and Exercises section of this course. They will guide you to foster an ever-deepening relationship with your consciousness and the Universal matrix.

Journeying

Modern shamanism has influenced modern witchcraft as it should due to the amount of overlap in worldviews. One of the techniques that has crossed over into The Craft is shamanic journeying. Journeying seeks to facilitate a shift of awareness into a state of trance in which consciousness is directed towards gaining wisdom and guidance in the process of self-growth, usually using guided and structured visualizations. Most of the popular techniques are based on the pioneering work of Dr. Michael Harner, anthropologist and founder of the Foundation for Shamanic Studies, as described in his book The Way Of The Shaman. Drumbeats, rattling, and musical elements are used, along with or without voice, to induce the trance in which journeying takes place. A detailed description of trance induction is fitting material for discussion elsewhere. As a general rule, structure journeying in 20-30 minute durations with one or two journeys in a sitting. Before you begin, always make the intention to return your consciousness fully back into your body upon completion of the journey.

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Ethics

The ethics of witchcraft and magick-using people is an area of much agreement throughout the broad range of practitioners. A level of respect for living beings and the energetic networks relating a witch to these fosters a conscientious set of guidelines. The core value upon which magickal ethics is built is broad and simple enough to create a foundation for the structure so widely held.

One might ask why there is a need for additional consideration above and beyond the predominant cultural ethic for magick- using people. An answer is: because magick works. If witches were simply wasting their time mouthing empty phrases and miming powerless rituals, there would be no need to be responsible for what would be nothing more than fancy. Because co-creation is so successfully undertaken, the consequences of all who are affected both directly and collaterally must ethically be accounted for.

The basic credo of The Craft is simply stated as a modification of a work by Aleister Crowley. Crowley created his version, which states "Love is the law, love under Will, so let do what the thou Will, be the whole of the law." This has been reworked into the modern Wiccan Rede which states "An' it harm none, do what thou will." This obviously echoes the Golden Rule principles of the world's popular religions, Buddhism, Christianity, Judaism, Brahmanism and others. It is the foundation for empathy, compassion, justice, community and the harmony humans so far have not yet been able to achieve.

The Rede applies specifically to witches and other magick-using people as the checking point for all work done on the co-creational level. It takes maturity and perspective to shoulder the responsibility to ensure one's magick harms none. This is the general safety valve that prevents the chaos that is potentiated by numbers of magick-using people casting magick in a self-serving way.

Behind the Rede bolstering the "why" one should act in accordance with it is the belief in the Law of Universal Return, often called the Law of 3. This law also correlates with other global systems that state that essentially what you put out will come back to you. The Law of Threes expands the rebounding effect by three times. The simplicity of the Rede and the Law of Three frames the ethical boundaries of witchcraft consciously and with a minimum of dogma. The nature of self-preservation is tapped in an undeniably poignant fashion similar to the warning, "live by the sword, die by the sword." The magick-user is free to explore the innumerable opportunities of life so long as those explorations are conducted with this "harm none" mentality.

Unfortunately the history of magick is not replete with stories of ethical people consciously creating harmony with the powers of co-creation. On the contrary. At this point of our evolution we have many myths and stories clearly demonstrating the misuse of magick. From Hawaiian kahunas praying people to death to European warlords divining for the right time to attack their neighbors, and down to every conceivable act of selfish acquisition; the history of magick is, with few exceptions, distasteful. The Wiccan Rede is a modern distillation of an idea with at least 2500 years of existence, and many have hope that humanity is progressing to a point when we can all act in accord with our Golden Rules.

Further exploration into magickal ethics leaves one to other considerations for the practice of witchcraft. Non-ownership of energy is an important guideline; this idea can be explained as the wisdom that, though one can use Universal energy for personal reasons, the actual energy itself is only directed or redirected, it does not belong to anyone. It cannot be subdued or owned. A magick-user seeks to be a clear conduit for change. With our human ability to direct energy clearly understood, one must also understand that this does not signify that we are masters over it.

Another energetic consideration is that one does not do magick that affects the free will of another person. This is illustrated in the classic example of the love spell gone awry. If a magick-work uses force to overcome the decision-making of another in the area of life choices, it is not only unethical but will also fail eventually. The power of self-interest that all beings have will guide even the spellbound beyond the grasp of manipulations, sooner or later. The spell-caster has upset the harmony of life by setting oneself above others. He or she will find that what he or she thought was in the best interest was actually only a very small piece of the whole, which we are all equally endowed to participate in willfully.

Within the basic ethical considerations, a broad spectrum of guidelines exist. In witchcraft these are not scriptural dogma but wise counsel to be personalized through experience. An example of a technique that is useful in mitigating these responsibilities and ethical considerations is as follows: at the completion of any work of directed will, simply include a statement such as "and it be for the greatest good, may it be so." This is a safety valve mechanism that works with the understanding that the Co-creative force of the Universe has wisdom beyond our human vision. Whether it be perceived as a deity, the Higher Self, or the great mystery, a magick person entrusts the non-personal portion of the Co-creative force to understand this entirety and act accordingly.

A personal ethic to follow in The Craft is to work magick only within healthful boundaries of your own energy level. Magickal skill grows with practice, and honest assessment of your own skill level is critical. Doing energy work that is beyond one's ability to channel is harmful to the self ("an' it harm none" includes the self!). There is actual physical energy circulating throughout the body and non-body during a magick working, larger works require larger movement and direction of this mana. The circuitry of magickal receptors and directors within the witch need to be built up over time with appropriate progress at appropriate intervals. This is why there are levels of initiation both naturally occurring and created within the magickal context. Attempting to do magick that is beyond the body's ability to handle can lead to blown circuits on the magickal level. Psychosis is an unfortunate potential outcome of this unwise and unethical blunder. Further, those around the witch are affected, including humans and non-humans both.

Within the realm of ethics also to be found is, as Dan Millman writes about in Way Of The Peaceful Warrior (1980), "Life requires more than knowledge, it requires intense feeling and constant energy. Life demands right action if knowledge is to come alive."

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Meditations And Exercises

Grounding Journey

Imagine if you can take a moment and stop, knowing that the process of life continues to move on around you, over you, under you, to each side, and through you. Allowing the current of time its course, you simply stay put and rest. For three mindful breaths see the circumstances you are involved in, that are asking for your attention, flash to mind. Now acknowledge them gratefully and inform yourself that you may return to them later if you then choose. Taking three more breaths, each deeper than the last, settle into the position you choose to hold during your grounding. Wiggle into a place of stillness, and then be set. Feel the weight of your body as you release the muscles in your face and mouth. Feel the expansion of your lungs as you settle your eyes, either comfortably open or closed.

Imagine you are sitting on a mirror, that there is a reflection, another you within the realm below the surface. The image of your appearance is clearly your body in complete reflection, and as you inhale a few more breaths, shift your consciousness into the other you, the mirror's reflection. Notice the difference in the surroundings beginning to emerge around you. The walls of an earthen room are there. You are in a simple hut as your inner eye opens to the calm filtered light, and you see a pail near you. Moving to get the pail you find it is holding liquid...pigment. Begin painting yourself, if you can smell, the pigment is earthy and you know what to do with it. Seeing your work, you recognize that you are ready to travel down the stairway you now see in the room. You can walk down it and through a hallway into a court-way that opens up. A throne-like seat awaits you here; you observe the look and feel of it.

Finding your way into the seat, settle in. Vibrations of peace and healing concentrate here, in you. (pause) Awareness opens and you realize there is a mirror-like surface above you and the throne. You see yourself as the above mirror person and begin to move up, completely entering yourself through the surface in a few breaths, bringing peace, and a grounded sense. Returning fully now into your body here in this room, breathing all of yourself deeply into your body, moving a little bit, remembering, and integrating as you open your eyes, wholly returned, calm, safe, gratefully grounded.

Centering Journey

To center oneself it is best to begin after completing both creating sacred space and grounding, then get into a comfortable posture that can be held for some time without effort. Breathe in, consciously feeling the air pass through the nose, and relaxing the muscles of the body as the air enters and exits the lungs. Envision the particles of the air as though they were clearly visible, being drawn into you, intermingling and exchanging some with the particles of your body, and exiting into a great sea of similar stuff. Take several rounds of breaths continuing this visualization. As though from above, now looking down, create a mental picture of your body peacefully breathing. Slowly begin expanding this perspective of the self and start to include the room or surroundings around you. Floating up easily, your peripheral vision is gaining increased perspective as you rise up safely. Now see the shelter you've been in from above the roof as though you have just floated above the upper reaches of where you came from. The outside sky welcomes you as you further float seeing that which is below you begin to open in an ever more expensive outlay. See the neighborhood or area beneath, then the city or countryside, all visible now as you float still further. The landmass begins to become distinguishable as your pace quickens and you rise high into the sky above the low atmosphere. Now the details of the Earth begin to recede. Beyond the atmosphere and into near space you continue traveling at an amazing speed. The solar system passes, the arm of our galaxy, then the entire galaxy, then many, many galaxies, and finally, eternal space. Quietly remain here for the amount of time that feels right to you. Retrace your travel, returning towards Earth as you are ready. Returning to the room your body occupies, and back above your body. Breathe yourself into your nostrils as the particles you know yourself as are here. Fill your body with your consciousness in every cell, now enlivened with the breath and completely within the body. Awaken the muscles by some small movement until you are ready to rise. Stand up as you are called to and stretch your arms in the air, reaching the farthest places as they all touch you.

Energy Exercise

Sit on the ground or in a comfortable chair with your arms extended in front of you with your cupped hands one up and one down, over each other. Spread the fingers slightly, comfortably creating a spherical space between the hands. Begin with the fingers nearly touching each other. The space you have created could be considered apple-sized. Breathe consciously for a moment, slowing down life's calls until you gain some level of calm. The natural energy moving to the hands is complementary, though with them facing each other it is polarized at the same time. Begin to create a ball of energy in the space between the hands: this is your own energy so it is safe to create and handle. Allow each moment passing to move the reality of your creation into certainty. The energy sphere may feel tangible immediately or it may take some coaxing until your psychic wisdom knows that it is there. The ball is now ready to be imbued with those things you considered to be worth promoting. Gratitude and love are always a good standby. If you have specific needs, such as health issues, the sphere can be charged with appropriate energy or general life-force manna.

Now is a time when you can take this exercise to a completion by choosing to move the ball within or without yourself. If, however, you feel capable of taking the energy further, continue as follows. Slowly spread the hands away from each other to a size closer to a bowling ball size. The hands can be moved around as though cradling the sphere, keep them equidistant and palm-to-palm but allowing them to change from above to below and back as feels right. As size increases, so does the energy within, allow yourself to feel this. Additional vibration can be sent into the sphere, and its field will change accordingly. Three ways to bring this exercise to a transition are to move the sphere of energy either into the ground, the sky, or your body and relax the hands as you release the ball. Knowing that the energies within will remain an active co-creative force, it is wise to give appropriate direction to the release. This exercise has endless potential modifications and personalization for years of use.

Working with another person or group of magick-using people lends itself to this next technique. Sitting across from another person or in a circle, take hold of each other's hands one palm up and one down. Each person brings their own personal energy to a group and together the harmony and interplay of these energies is a source of endless work and enjoyment. Allow your heart to overflow with generosity and allowance as though this good stuff is boiling over and down the arm of the side with the hand that is palm down, into your neighbor's upturned hand. Energy is also flowing into your other upturned hand simultaneously. Consciously move the energy up your receptive arm, across your heart where it is further charged by your outpouring heart gifts, and down the directive arm in a now complete circuit within the group. Visualizing can be helpful if you are aided by seeing the flow spiral around your group into and through you, and on, and on.

This technique is a great way to establish fundamental ties for a magick-working group. It takes practice and improves with time as those with varying degrees of talent reach an energetic balance. Grounding the energy is recommended upon completion of this exercise.

Spell Example

An example of an ethical spell that you would create for magickal protection follows. Notice that the intended party is not in any way having free will removed. This type of spell is appropriate for a time when someone (Joe) has made poor decisions affecting others (Jane) in a detrimental way. Here Joe has sent a message on a psychic level that he needs to gain some perspective on his actions towards Jane, and until he does so, he will have the protective energies of the spell caster to intervene in disallowing Joe to harm Jane further, with the implied enjoinder that he will be called to task energetically otherwise for not acting in a rightful way:

You Joe have piqued my rage
Cross not this bridge to Jane
Upon it I stand in all my courage
Stand hither and reconsider

Witchcraft: Index >>

Chants And Castings

By Nova Love

A Circle Casting

Sacred powers of East and Air
We send this voice in humble prayer
Bring your powers and teach us how
To use them wisely, Be Here Now
/>We call to South from deep inside
Sacred Fires come alive
A light that burns that we may see
By our will, So Mote It Be"
/>Protect us now Mother West
Nourish us from breast 'till death
Surround us as we are borne
Welcome Water, in all your forms
/>Northern quadrant of this place
Ground and provide this Sacred Space
We draw the circle on the Earth
We've come to do our Magick work
/>Above below around within
We call the Center Spirit in
Goddess, God, Mystery, Source
Connect us to Divine Life Force!

Growth Chant

Deeply knowing
Change is flowing
See that we and Life are growing
High and wide
Deeply knowing
Change is flowing
See that we and Life are growing
High and wide
Deeply knowing
Change is flowing
See that we and Life are growing
High and wide

Spirit Chant

I am the Wind I fly in the East
and sing of renewal
I am the Wind I fly in the East
and sing of renewal
/>I am the Fire I dance in the South
and bring transformation
I am the Fire I dance in the South
and bring transformation
/>I am the Water I flow in the West
and reach the deep places
I am the Water I flow in the West
and reach the deep places
/>I am the Earth I stand in the North
and cycle in nature
I am the Earth I stand in the North
and cycle in nature
/>I Am The Spirit And Love Is My Power
And I Am Everywhere
I Am The Spirit And Love Is My Power
And I Am EVERYWHERE !!!

Witchcraft: Index >>

Bibliography

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The Learned Arts Of Witches And Wizards. Barnes And Noble, Inc.; New York, NY

Black Elk, Wallace, And William S. Lyon 1990
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Brook, Elisabeth 1995
A Wisewoman's Guide To Spells, Rituals, And Goddess Lore. The Crossing Press; Freedom, California

Buckland, Raymond 2002
The Witch Book: The Encyclopedia Of Witchcraft, Wicca, And Neo-Paganism. Visible Ink Press; Canton, MI

Eisler, Riane 1995
Sacred Pleasure: Sex, Myth, And The Politics Of The Body. HarperCollins Publishers Inc.; New York, NY

Dekorn Jim 1994
Psychedelic Shamanism: The Cultivation, Preparation, And Shamanic Use Of Psychotropic Plants.
Loompanics Unlimited; Port Townsend, Washington

Glass-Koentop, Pattalee 1991
Year Of Moons, Season Of Trees: Mysteries And Rites Of Celtic Tree Magic. Llewellyn Publications; St Paul, MN

Harvey, Graham 1997
Contemporary Paganism: Listening People, Speaking Earth. New York University Press; New York, NY

Heinberg, Richard 1993
Celebrate The Solstice: Honoring The Earth's Seasonal Rhythms Through Festival And Ceremony.
The Theosophical Publishing House; Wheaton, Illinois

Hopman, Ellen Evert And Lawrence Bond 1996
People Of The Earth: The New Pagans Speak Out. Destiny Books; Rochester, Vermont

Jones, Prudence And Nigel Pennick 1995
A History Of Pagan Europe. Barnes And Noble Inc.; New York, NY

Mccoy, Edain 1996
Entering The Summerland: Customs And Rituals Of Transformation Into The Afterlife.
Llewellyn Publications; St. Paul, Minnesota

Merrifield, Heyoka 1993
Sacred Art Sacred Earth: Transformative Art Birthing A New Myth. Rain Bird Publishers; Inchelium, WA

Millman, Dan 1980
Way Of The Peaceful Warrior: A Book That Changes Lives. H.J. Kramer, Inc.; Tiburon, California

Skelton, Robin And Margaret Blackwood 1990
Earth, Air, Fire, Water: Pre-Christian And Pagan Element In British Songs, Rhymes And Ballads.
The Penguin Group; London

Noble, Vicki 1991
Shakti Woman: Feeling Our Fire, Healing Our World, The New Female Shamanism.
HarperCollins Publishers; NY, NY

Spretnak, Charlene 1978
Lost Goddesses Of Early Greece. Moon Books; Berkley, California

Starhawk 1997
Dreaming The Dark: Magic, Sex And Politics. Beacon Press; Boston, MA

Starhawk And M. Macha Nightmare, Et Al. 1997
The Pagan Book Of Living And Dying, Practical Rituals, Prayers, Blessings, And Meditations On Crossing Over.
HarperCollins Publishers Inc.; New York, NY

Starhawk 1979
The Spiral Dance: A Rebirth Of The Ancient Religion Of The Great Goddess.
Harper And Row Publishers, Inc.; NY, NY

Steiger, Brad 1971
Kahuna Magic. Para Research Inc.; Rockport, Massachusetts

Wilson, Robert Anton 1977
Cosmic Trigger, Final Secrets Of The Illuminati. Falcon Press; Phoenix, Arizona

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What Is Satsang?

Winter Retreats, Satsangs and Workshops

Featured Affirmation

What are Affirmations?

Witchcraft

Written by Nova Love

Some of the popular working definitions of magick:

THE LUNAR CALENDAR

THE SOLAR CALENDAR

By Nova Love