Consignments with the Tree Leaves Oracle

Interested in placing your art on consignment with The Tree Leaves’ Oracle?

Send us an email at consign@treeleavesoracle.org and let us know about your art – please include pictures, descriptions, and prices. We need to have more than 6 items each of your items you want to be listed online with us, and any amount is ok for display in our festival booth or storefront.

To learn about our rates and policy, discounts and volunteer swap – download our consignment sheet here: consignment-rates.

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Visit our Booth at Faeriecon West!

Our festival season is upon us and the first festival of the season will be Faeriecon West in Seattle, Washington during the weekend of February 21st – 23rd, 2014.

Come visit our booth in space number 16 displaying a good bulk of our wares and collections found in our Store. See you there!

fcw-home

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400 sq. ft. off grid Solar Cabins

Cross-posted from Off Grid World 12/18/2013 “How to Build a 400sqft Solar Powered Off Grid Cabin for $2k” at http://www.offgridworld.com/how-to-build-a-400sqft-solar-powered-off-grid-cabin-for-2k/.

How To Build a 400sqft Solar Powered Off Grid Cabin for $2k

How to build a nice small cabin powered by solar panels. Lamar Alexander built this cute little 400 square foot cabin for approximately $2000, and powers it with a 570 watt solar and wind power system. The whole system is very inexpensive, and the best part is he is mortgage free. Very cool little cabin. I’d be proud to build something like this myself, and call it home.

How to build a 14x14 solar cabin

“…This cabin is 14×14 with a full loft and approximately 400 square feet of living space. Downstairs is Kitchen, Bathroom, Dining and Living area. Upstairs is a large Bedroom and Office. There is enough room for 6 people to sleep comfortably. Power system is 580 watts Solar electric and 400 Watts wind power which powers a 12 volt fridge, lights, water pump, TV’s, laptop and many gadgets. Heat source can be propane or wood stove. Toilet is composting or a septic tank system…” ~http://www.simplesolarhomesteading.com/

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Uvogel house by Peter Jungmann

cross-posted from Viral Nova 2014 “I Really, Really Want To Live In This Tiny House. Step Inside And You’ll Instantly See Why.” article published at http://www.viralnova.com/strange-tiny-house/

I Really, Really Want To Live In This Tiny House. Step Inside And You’ll Instantly See Why.

January 8, 2014 Entertainment

If you have ever wanted to visit the Alps in Austria, then you should do it in style. This 45 square meter house, designed by Peter Jungmann, is available for rent and will give you the most spectacular view. The best part about it, though, is its unique design… oh, and did I mention it’s only 45 square meters (484 square feet)?

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The Gypsy Wagon ~ a.k.a. “Vardo”

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vardos in front of the Coach House Cafe, Blarney Castle, Blarney, Ireland

Vardos
Article by Thomas Baurley © 2013 – Technogypsie Productions – All Rights Reserved.

There are always discussed a lot of pros and cons about “Gypsy” culture, and we’ve always been on the side of admiration for the talents, beauty, and charm portrayed by Gypsies, rather than the disgust that their under-culture of thieves, beggars, and trash that many towns fear when they hear the term. One of the beautiful elements of Gypsy culture in my eyes is the “Vardo” or the “Gypsy Wagon”. They are also called a van, living waggon, caravan, house truck, or waggon. Originally it started out as a traditional horse-drawn wagon upon which was built a house that the British Romani people lived in. Today, they are mostly mechanized, without horse, and is usually an artistic masterpiece that has some of the same utilities as an RV, motor home, caravan, or camper van. They often have a wood fire stove within, having a chimney or a pipe, and consist of fine decoration, woodwork, intricate carvings, gilding, and painting on the inside as well as the outside. The woodwork of these masterpieces are fantastic. It is said that amongst the British Romani, the vardo is seen as a masterpiece of wood-crafter’s art and artistic design, representing their culture and way of life. They were very popular for well over 70 years recorded as early as the mid-1800′s upwards into the 20th century C.E. (common era) With the motorized age, they’ve been replaced by Recreational vehicles, caravan’s, and house trucks. They are still around, but not used for year-round living like they were in the past. You’ll find them at alternative festivals, Romanichal horse fairs, and country fairs being displayed as the exhibit they are.

The Original Vardo
The Romani arrived into the British Isles by 1500 C.E. (common era) but did not live in the vardos until the early 1800′s. Before the 1800′s they traveled in traditional tilted carts or horse-drawn carts, on foot, and sleeping in the carts or in small tents or bender tents (made of branches like willow that bent inwards to support a waterproof cover). The original vardos were drawn first by cast-off horses and then after World War II replaced by breeds of horses suitable for the work such as the Gypsy Cob, Coloured Cob, Gypsy Horse, Gypsy Vanner, Tinker Horse, and Irish Cob. The first recorded use of a vardo as a living accommodation was in 1810 by non-Romani circus troupes in France which were much larger vehicles pulled by teams of horses allowing for maximum capacity for storage and living spaces. This was replaced in the 19th century by a smaller caravan that current vardos are found to be styled after. The Romani Gypsies only lived and highly utilized the vardo for just over 150 years. By 1840-1870 the Romani in the U.K. incorporated their living spaces within them, required less horses to pull them, and added their own characteristic art and design elements to the inside and outside. These were designed with large wheels set on the outside of the wagon’s body with sloping sides outward as they rise towards the eaves. There have been recorded to be six original types that differ in shape, placement of the wheels relative to the bed, size, by maker, and location manufactured. Doors are usually located in the front. The bow-top roofs and open-lot types usually consist of canvas stretched over a curved wood frame, while the others are roofed in wood. Designs were pretty much standardized by the 1850′s with common features shared amongst them all. Cast-iron cooking stoves from America where imported in and incorporated within them from the 1830′s onward. This led to the incorporation of a chimney to draft out the smoke. Chimneys are placed on the left side in American and European vardos, while usually placed on the right side since the caravan in the UK, Ireland, and Australia travels on the left side of the road in order to prevent damage from trees, shrubs, and other items sticking out over the road. The stove will also be found within a wooden fireplace outfitted with fire-proofing and protection surroundings. The inside of the vardo often has built-in seats, a wardrobe, cabinets, bunks in the rear, chest of drawers, and sometimes a glass-fronted china cabinet. Windows are often found on the left side and rear in UK, Irish, and Australian vardos, while on the right side in American, European, and Canadian versions – again as protection from damages along the side of the road. Some are built with clerestories to allow air and light in for ventilation and natural lighting. Brackets for oil lamps can be found mounted over the chest of drawers opposite the fireplace, while the dresser top is used as a table.

Charles Dickens’ describes a vardo in the Curiousity Shop (Chapter 27) as:

    “One half of it… was carpeted, and so partitioned off at the further end as to accommodate a sleeping-place, constructed after the fashion of a berth on board ship, which was shaded, like the windows, with fair white curtains… The other half served for a kitchen, and was fitted up with a stove whose small chimney passed through the roof. It also held a closet or larder, several chests, a great pitcher of water, and a few cooking-utensils and articles of crockery. These latter necessaries hung upon the walls, which in that portion of the establishment devoted to the lady of the caravan, were ornamented with such gayer and lighter decorations as a triangle and a couple of well-thumbed tambourines.”

The Romani termed these caravans as “vardo” within the Romani language deriving from “vurdon” the Iranian word for “cart”. In its age of popularity, they were commissioned by families or newlywed couples from coach builders that specialized in their construction which took upwards of 6 months to a year to build. They were artistic treasures to the Gypsies and included much customized work and design around their construct. They often included ash, elm, pine, cedar, and oak with gilding of gold and/or silver. Created first by the Romani, they were incorporated by later non-Romani Gypsy types such as tinkers and travelers becoming a theme for the nomadic lifestyle they all share in common. The wagons were often named after their owners (such as ‘Brush wagon’), their style (such as ‘Ledge wagon’), town of its construction (such as ‘Reading Wagon’), or the builder’s name (such as the ‘Burton wagon’). There are six main styles today of the vardo with a variety of designs, these are:

  1. Brush Wagon (or fen wagon) – Was a standard Romanic vardo with straight sides and wheels located outside of its body. Sharing the family name “Brush” of its owner, it was very similar to the “Reading vardo” but unlike other styles had a half-door with glazed shutters located in the back of the vardo with a set of steps arranged the opposite way from other wagons. It did not have the molly croft skylight on its roof. It had exterior racks and cases fitted on the outside frame as well as its chase so that the owner could carry trade items and merchandise such as wicker chairs, baskets, brooms, and brushes. It had three light iron rains around the roof and sometimes trade-name boards used for storing bulk goods. Later wagons were elaborately decorated and colorfully painted.

  2. Reading Wagon (or kite wagon) – sharing the name of the town it was constructed in and represented a design that was the epitome of the Romani’s golden age. It had straight sides that sloped outwards towards the eaves with high arched wheels. They were relatively light weight dating from 1870 C.E. and synonymous with the original builder “Dauton and Sons of Reading” where they were made. These were probably the most cherished of vardos by the Romani because of its weight and aesthetics, ability to cross fords, able to pull off road and over rough ground. They were 10 feet long with a porch installed on its front and back. The rear wheels were 18 inches larger than the ones on the front. By the 20th century they had raised skylights and on either side of the bed were installed quarter-inch thick beveled mirrors with lavish decoration. The locker seats and cupboards were clasped to prevent movement during travel. The back and side windows were shuttered and decorated. The body was made from beaded tongue-and-grooved match boards, painted red picked out in yellow and green. The extent of the decoration varied with the wealth of the family and represented as such, sometimes with gold gilding, gargoyles, carved lion heads, gold painting, or gold leaf. A good video demonstration of this wagon can be seen at http://youtu.be/RKY3lNRmYpE.
  3. Ledge Wagon (a.k.a. “cottage shaped wagon”) – This wagon was named after its unique style of construct and design. The wagon had a more robust frame and living area extending over the large rear wheels. To support the frame, brass brackets and a solid arched roof upwards of 12 feet in height would extend over the wagon’s length forming a porch at both ends of the vardo. This porch roof had support by iron brackets. The vardo’s walls often had ornate carvings and scroll work design along its length. The tongue would be paneled in groove boards for extra support and structure.
  4. Bow Top Wagon was named after its unique style of construct and design. It was designed to be like the “Ledge wagon” but significantly lighter and less likely to topple in strong winds. The roof is a very light weight canvas top with wooden frame supports reminiscent of the old “bender tents”. The front and back of the vardo are decorated with ornate scroll work and the tongue/groove with the rest of the wagon painted green to be more invisible when camped in the forests. The interior had the same high scroll work design or was covered with Chenille fabric. Often inside was found a table, double bed, and a stove. Before World War II the canvas was said to be teal-colored because only cotton duck was available at that time.
  5. Open Lot Wagon (a.k.a. Yorkshire Bow) was named after its unique style of construct and design. It was almost identical to the “Bow Top Wagon” with same design except there was no door – a curtain was hung instead for privacy.
  6. Burton Wagon was named after its builder and is one of the oldest examples of wagons used as a home in the U.K. It was often found undecorated in its origins evolving into the elaborate design it is now. It wasn’t suited for off-road use because of its small wheels. In the later evolutions they became very ornate and well decorated. Later nicknamed “Showman” as they became used by tinkers, travelers, and gypsies that hit festivals, fairs, and shows – exhibiting wealth from their intricate carvings, adornments, cut-glass, heavy gold leaf, and angel lamps. Most have a molli-croft roof.

Life in a vardo was a tight fit. The vardo is a one-room wagon, sometimes with a sliding door installed for privacy and bunks that pull out under the adult bed for children to sleep in. Every nook-n-cranny was used for storage and as a chamber to stuff things. The original wagons were horse-drawn and a days travel would never be more than 15 miles in a day (except a rare instance). Often the vardo is pulled by one large horse, with a second added for hilly terrain. Every 10 years of use, the vardo was often returned to the builder for upkeep and maintenance, re-structuring, and a check-over.

Vardo artwork almost always is of ornate and elaborate design, hand carved, and painted with traditional symbols. Sometimes this was used to exhibit the owner’s wealth, their lifestyle, or trades. The exquisite nature was to represent the fine craftsmanship, artistic skills, and wood carving that they were notable for as an example of their skills when looking for work. They rarely constructed the wagons themselves though, as they left that to task to specialized coach builders. Besides notable Romani symbols, artwork included gargoyles, lion heads, vine work, floral designs, griffins, birds, lions, horses, and foliage. Sometimes upwards of 4-15 books of gold leaf were added to the decor. Some of the artwork have raised attention to the specific artist for their style and beauty – in the early days these were Tommy Gaskin, John Pickett, Tom Stevens, Jim Berry, and John Pockett as notable artists. Today artists like Lol Thompson and Yorkie Greenwood continue the tradition.

Death of a Vardo – The Romani would often burn the vardo and belongings of a owner when they pass from this realm. This was very traditional during the 19th-20th century. No possessions would be sold and would be burned or few items of jewelry, money, china, and personal effects left to the family. Today they are rare and far few in-between but represent a revival culture on the move up. Popular in the 18th-20th century, the Gypsies began to lose ability to keep them from the mid 1900′s as economics, environment, technology, and a lack of interest in traditional ways/crafts became common place. The auto replaced the horse, motorized caravans replaced the horse drawn vardo. It is estimated that less than 1% of gypsies today live in traditional horse-drawn vardos. They have been converted into conversation pieces, art exhibits, collector items, play houses, garden plant potters, museum pieces, lawn decoration, writing rooms, art studios, and festival vending booths. Some old vardos have been restored and salvaged with an upsurge of use in festivals and horse shows.

The Motorized Vardo or Truck House
As revitalized interest has developed over the vardo and Gypsy Wagons as an art form, many have began to modernize the construct while keeping an avid interest in preserving the art, design, hand carvings, gilding, and painting upheld. They can be built atop pickup trucks, trailers, carts, and wagons. Many have rubber tires. A modern manufacturer of these tells easy-to-do-it-yourself instructions here: http://www.instructables.com/id/Building-a-Gypsy-Wagon/.

080213-019
Modern Gypsy Wagon/ House Truck we are currently renting made by the very talented Markie Stuart.

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01.09.78: Deputies Recover Bodies of Druid’s Cult’s Buried Babies

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January 9, 1978 ~ Fence Lake / Valencia County

Crime drama incident of so-called Druid cult in New Mexico involved with burying bodies of babies.

Articles:

~ Search of Burial Site Fails to Find Bodies

~ Druid’s Gone, Officials Seek Answers

~ Cult Leaders Arrested

~ Youth Recalls Cult Habits

~ Deputies Recover Bodies of Druid Cult’s Buried Babies

~ Judge Denies Druid Leaders Custody Plea

Newspaper articles are here: druids-crime-010978

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October 28 – Punky Night

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October 28
Punkie Night

A custom of some antiquity, which remains popular in some areas of Great Britain. Children carve lanterns from mangolds (beets) or other vegetable roots and go from house to house begging pennies. This occurs on October 28 or 29, or on the fourth Thursday of October.

Great Britain
“Punkie night” at Lopen and Hinton St. George, c. 1972
This event takes place on October 28th. The children go into the fields and get mangolds, on which they carve pretty scenes, a mask, a design or something. They hollow them out and put a candle inside, and go round the village for pennies. They sing, or rather chant;

  • ‘It’s punkie night tonight
  • It’s punkie night tonight.’

, Although this festival is observed in other places in England, it is only at Hinton that it is on October 28th, because in the olden days this was the date of the fair down at Lopen and Chillnock. Once the men of the village went down there, and got rather tight, and lost their way in the fields. They carved themselves lanterns to see the way home. Meanwhile the women of the village were hunting for them with scarlet cloaks, and trying to fetch them home . . . .

The men went to the fair at Chiselborough, and because they were so long coming back, their womenfolk and children went out and made lanterns from mangolds to search for the men….

This had been the custom ever since the informant could remember. The children would go round singing the song, ‘It’s punkie night tonight’ , and collect money that they would share out to buy fireworks . The story of how it originated was that one night a gang of men went over to Chisel borough Fair, and it was so dark that they could not see their way home. They scooped out mangolds, and put candles in them, and that is how they reckon the custom originated. Variations to mangolds are vegetable marrows . In Hinton they now give prizes for the best punkie. The informant knew of no other village that did this .
The information collected and printed above shows the usual local variations in details. The custom has previously been recorded as taking place at Hinton St. George and Long Sutton, but not at Lopen. The punkie is distinguished by the ingenuity and complexity of design being greater than is exhibited in the usual mangelwurzel lanterns found elsewhere.
The date and the nature of the custom are made plain by the above accounts. While the 28th or 29th October is claimed as the authentic Punkie Night, the fourth Thursday in October is now chosen at Hinton. Such standardization is obviously more convenient. However at Lopen the custom seems to be less strictly adhered to, and the date varies. Becoming confused with Hallow e’en and November 5th. One informant at Lopen told me that the children used Punkie Night to go round and collect money for fire works.
At Hinton St. George the Custom is now an event of local importance. A procession carrying punkies, chanting the song goes through the streets, and a local person is asked to judge the punkies, a prize being given for the best.

Source: “Punkies” by K. Palmer in Folklore 83 (Autumn 1972), 240-244.

Article here in PDF: oct28-punkynight

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Sex Magic 101

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Sex Magic 101
Course by Leaf McGowan

This course has been taught by Leaf McGowan through the Tree Leaves’ Oracle in Tallahassee, Florida; Los Angeles, California; Vancouver B.C. Sex Conference; Seattle, Washington; Eugene, Oregon; and Colorado Springs, Colorado.

Introduction to Sex Magic By Leaf McGowan

In Pagan practices, there is a type of magic that utilizes “sex” as a catalyst for ritual, spell casting, and energy generation. This is known to most Pagans as “sex magic”. It’s often combined with the Indian practice of “Tantra” as both forms follow the same general principles.

Magic or “mana” is an ever-changing energy field of life, love, and strength, that is within and around everything, circulating and ready to be directed, that magicians do not pray to the Gods for but shows the power what to do and make it work for them. Much to the same effect that science directs electricity. This is done by either sympathetic magic (imitation) or homeopathic (law of contact) or by the raising of power. Sex magic is utilized for its mystical and magical properties, and for the altering of consciousness, and the raising of magical energy produced by the love.

Sex and sexuality is very holy, and very sacred to most Pagans. “It’s a manifestation of the essential polarity that pervades and activates the whole universe, from Macrocosm to Microcosm, and without which the universe would be inert and static and would not exist.” (Farrar, 1984)

Sex Magic shares a lot with the Buddhist, Hindu, and oriental sexual-religious-magical philosophy known as tantricism and one can find its implementation in various Pagan and ceremonial magic systems such as the works and writings of Aleister Crowley, the Ordo Templi Orientis (O.T.O), the Rosicrucian, as well as incorporation of Bengali and Tibetan Sex Magical rites and practices.

Tantracism is derived from the written works called “The Tantras” that expound various systems of esoteric Buddhism and Hinduism dealing with every aspect of esoteric religion-magical thought including astrology, mystic diagrams known as mandalas, preparations of mystical ingredients, etc.

The Tantras always begin with a conversation between two deities; one asks the other a question, the other refuses to answer, the first again begs to be told the answer to his/her question -and eventually the inquiring Deity gets its way and the Tantra assumes the form of an answer to the question that was asked. Tantracism sees both the universe, the macrocosm, and man himself, the microcosm, as being made up of two opposing aspects -male and female, static and dynamic, negative and positive -and holds that the existence of these opposites in a state of duality is the source of all sorrow, pain, change, and suffering. The object of all religious endeavor should be, so it is believed, liberation from this duality and a return to a state in which the two opposing principles are united in a state of absolute non-duality.

Hindu tantricism calls the male -the negative, passive, principle -Shiva. The female, is the dynamic principle Shakti. The human body (a microcosm -a universe in miniature) are the two principles being regarded associated with two of the chakras -centers of psycho-spiritual force which are of such importance in the esoteric physiology of Yoga. Shivs dwells in the Sahasrara chakra -the thousand petaled lotus -situated at the crown of the head, while Shakti is associated with the Muladhara chakra -lying over the perineum and base of the spine. Liberation from duality can be achieved by enabling Shakti (symbolized as a coiled serpent to uncoil herself) to rise up through the psychic centers and unite herself with Shiva. Tantric Buddhism shares similarity -the male principle (the active, phenomenal, aspect of the polarity -dwells in the head) and only by uniting it with the female principle of voidness, (resides in the navel and solar plexus) can non-duality be achieved and liberation attained.

Ritual sexual intercourse (in either actual or symbolic form) is the central religious act in all Tantric cults, there is one considerable variation between Hindu and Buddhist technique -in Hindu rites the sexual act ends in the male practitioner ejaculating his semen into the vagina of the female, while in Buddhist rites the semen is retained by the male and no ejaculation takes place.

As Doreen Valiente once said … “Ritual Sexual Intercourse is a very old idea indeed -probably as old as humanity
itself. Obviously, it is the very opposite of promiscuity. Intercourse for ritual purposes should be with a carefully
selected partner, at the right time, in the right place … It is love and only love can give sex the spark of magic.”
(Valiente -Natural Magic, p.l0)

In Paganism, certain holidays have a call for sex magic in their celebrations. One such holiday, is May Day or Beltane. Sacrifice and Rebirth, Creation and Fertility, Love and Sex. Often seen as a festival of unashamed human sexuality and fertility. Maypole, nuts, and the gown of green were frank symbols of penis, testicles, and the covering of a woman by a man. Dancing around the Maypole, hunting for nuts in the woods, ‘ greenwood marriages’ and staying up all night to watch the May sun rise, etc.

Key Factors in Active Sex Magic:

 

  1. The transformation of human consciousness to divine consciousness via the manipulation of the sexual currents of the physical and subtle bodies through erotic rites. Male consorting with Female -female as the
    presiding source with the motive energy of the magical current flowing directly from her. During ritualized sexual acts -something more than ordinary intercourse occurs -a magical exchange takes place, a transference of power transmitted through the subtle vehicles of desire, attraction, and erotic fusion.
  2. A sexual exaltation of the female principle of power in the universe, known in Sanskrit as Shakti. The Universal feminine mystique is the driving factor for both male and female initiates of the active path. For males, this includes the attainment of the feminine power within themselves through a complex system of bodily disciplines, including sexual congress.
  3. Initiation through the deliberate violation of deep-seated external social and internal personal taboos, the individual separation from tribal normative values, and the radical inversion of convention and orthodoxy of every kind.
  4. Essentially elitist, in that it must be chosen, is not suited for all dispositions and does not come naturally. It is directed to the individual consciousness, unrelated to collective identity as a social creature or a being subject to divine or natural law.
  5. A method of initiation that actively embraces this life, this world, this physical realm, this body as the means to illumination and awakening. The active path is not a route of escapism from reality, but a confrontation with the full totality of physical and psychic existence, encompassing pleasure and joy as well as horror and mortality.

 

How it works
The energy of sexual pleasure can be deflected from merely genital orgasm to a way of illumination. The desire to completely disintegrate the individual consciousness into nonexistence and a negation of all phenomena as “Maya”, unreal projections of the mind. It is the path of the left -to deliberately turn left is to deviate from what would seem to be the body’s natural course and tempt fate, and therefore is a taboo-violation -the initial separation from the habitual inclinations of humanity. The recognition of Shakti, the eidolon of cosmic femininity as the central initiatory power the divine force that incarnates in living women. The female body is the temple of the divine force quickening the visible Universe. Her vulva, or yoni, is regarded as the altar in which Shakti’s electrifying energy is most vigorous. The feminine principle is not limited to biological females. The level of personal force and power demonstrated within an individual of either sex to be a consequence of the quantity of shakti they possess. For tantric males, it is an endeavor to arouse the spiritual female within them. The entire physical universe of transient matter is the manifestation of Shakti. Male tantrics seek to literally awaken shakti within their own bodies and psyches. Women are gifted with a mysterious innate talent for magic, for divination, and other arts. Magical power is intrinsically feminine in nature. Males strive to integrate some of this feminine essence within themselves, and much of sex magic is based on a deep recognition of the essential differences between male and female which are central to every aspect of sex magic. Its not a question of inferiority and superiority -it’s a recognition that the masculine and feminine principles are a unique phenomena in their own right. The left hand path principally honors the night-side of feminine power, even in its most extreme bharaivi force of creative destruction The female tantric incarnates that otherworldly facet of Woman that Man can never possess, subdue, or even entirely understand -her sexuality is of an ultimately inviolate and unattainable magical character, rather than the simply biological carnality of woman as property, that humble creature of the kitchen and the nursery. The glorification of the dark side of femininity is so essential to sex magic, that its one of the most important criteria of the magic -without woman, there can simply be no left-hand path.

The Neo-Pagan practice of “The Great Rite” & “Requiem”
Primarily in Wicca, and more specifically Gardnerian and Alexandrian, “sex magic” is incorporated into the liturgy and faith as an important element. Most of this comes from Gerald Gardner (founder of Gardnerian Wicca) who had various voyeuristic and soda-masochistic interests where he incorporated “one has to suffer in order to learn” and the third degree ritual of intercourse between a couple while surrounded by the other members of the coven as its so-called “Sacrament of Life”. (King, pg. 6) This was the ritual practice called “The Great Rite”. A magical practice that is both a ritual of male/female polarity as well as a sexual rite, the Great rite, either symbolic or actual is a form of ‘sex magic’.

The Great Rite invocation declares the woman’s body as a “holy altar” with her womb and generative organs to be the sacred focus and is revered as such in the ritual act. “There is one genuinely ancient figure -the naked woman upon the altar. It would be more correct to say, the naked woman who is the altar; because this is her original role … this use of a living woman’s naked body as the altar where the forces of Life are worshiped and invoked goes back before the beginnings of Christianity; back to the days of the ancient worship of the Great Goddess of Nature, in whom all things were one, Under the image of Woman.” (Valiente, ABC of Witchcraft, p. 44)

The “Black Mass” as often used in ceremonial or Satanic ritual utilizes a “Great Rite” as well, but should never be confused with the “Pagan” and/or “Wiccan” Great Rite. The Black Mass has nothing to do with Paganism and was actually a “Christian” Heresy, using perverted Christian forms, performed by sophisticated degenerates and unfrocked or corrupt priests, in which the living altar was used to desecrate the Christian Host. (Farrar, 1984)

The OTO -Ordo Templaris Orientis -has a large number of manuscripts that deal in detail with the sexual techniques of the Order’s ninth degree. The codes are rooted in alchemy. To invoke the powers of a God into themselves they mentally concentrated on the god throughout their sexual intercourse, building up the form of the deity in their imaginations and attempting to imbue it with life. At the moment of orgasm they identified themselves with the imagined form, mentally seeing their own bodies and that of the god blending into one. If they wanted to charge a talisman, a magical charm designed to achieve some desired end, such as love or fame, they anointed it with the Amrita (sexual fluid) resulting from their sexual act, during which act they had concentrated on the talisman and its purpose. A similar method was used to imbue with a magical power a letter written for some particular purpose, the power was supposedly augmented if the Amrita was used to trace a appropriate symbol on the envelope, i.e. if the letter was an application for money the sigil of the god Jupiter was drawn on the envelope.

BDSM -As discussed much of the sexual magic that is incorporated into Wicca is from Gerald Gardner and Gardnerian Wicca. Today there are hundreds of various traditions and branches, all with their own incorporation of sex magic into their religious liturgies and rites. The incorporation of sado-machoism and BDSM with sex magic comes from some of Gardner’s teachings, others from ceremonial orders and sex cults that have incorporated these practices. Some Wiccan groups implement BDSM with Sex magic. The performance of rituals designed to produce the maximum possible pain/terror/pleasure disgust is common amongst these groups and practices. This is not just kinkiness nor a desire to indulge in sexual perversion under the cloak of magic and religion -but a deliberate attempt designed to overload the nervous system with sensations -upon that overload is to continue the electrical analogy -the achievement of a psycho-spiritual short-circuit which will violently shatter the normal mental reaction patterns of the person concerned and lead to a transcending of his or her normal state of consciousness. (King, p.l63)

Chinese Sexual Alchemy follows similar principles. The Siddha cult probably evolved out of ancient Indian alchemy but with an obsession on “long life” and “immortality”. Fasting for a hundred days, not be born under unfortunate planetary configurations, learning the art orally from a Taoist master, worshiping the gods in a fitting manner, and must not be a civil servant. Yin and Yang were the two manifest aspects of the one eternal reality -from action and interaction comes the elements that make up the phenomenal world. Yang was fiery, active, male, and solar in its nature; Yin was watery, passive, female, and lunar. Vitality and longevity essentially yang in nature and therefore was particular upon supposedly Yang substances such as gold, mercuric sulphide, and sulfur. It was with these elements, chemistry, and compounds that alchemy took root. Sexual potency is a desired male attribute, semen is something very precious that should not be wasted, as it is a concentrated life force, loss of which should at all costs be kept to a minimum, and therefore taboos much of masturbation. This led to much of the Victorian beliefs against masturbation and excessive sex. Teachers of Chinese sexual alchemy are convinced that the evil effects of the loss of semen (a drop of semen equals an ounce of blood), which is the generative fluid that the body holds, can lead to early death or sickness by allowing it to leak away or wasted on sexual pleasures. Chinese sexual alchemy calls semen a generative force -the essence of procreation -and is a key ingredient in the manufacture of the pill or elixir of immortality. Sexual excitation is not to be avoided, but ejaculation is to be avoided and the force of sexual excitation is to be utilized as a very important and powerful energy form for use in magic, alchemy, and as a catalyst to make things happen. Sexual excitation could be used in the creation of lead (vitality). (King, p. 43) After successful transmutation of the generative force into lead (prana) the next stage is to raise the lead from the solar plexus crucible to the psychic center associated with the head (near the pineal gland) where it is to be transmuted into mercury (spiritual force) by yet another series of exercises involving deep breathing and visualization of orbiting streams of force.

Primitive Fertility Cults -Used sex magic to promote crop growth, fertility, to prevent wars, famines, floods, hurricanes, pestilence, and death. Primitive fertility religions share four common characteristics:

  • conception of the importance of duality and pairs of opposites in the process of reproduction,
  • belief that the nature of time is cyclical rather than linear
  • a philosophical picture of nature as being both personal and hierarchical, and
  • a belief in cause and effect.
Importance of duality -that both male and female were essential for procreation, was quite understandable -but the duality was extended from humanity to other animate beings and then to the world of inanimate objects. Fire was seen as male, water as female, while fire itself was seen as the child of its parents -two sticks rubbed together to produce it -the horizontal stick being rubbed is the woman, the hard upright stick is the male. Gods were seen as male and female, crop fertility was conceived as the result of the copulation of the sky father with the earth mother. This lead to the vaguely improper practice of a man worshiping a god nor a woman worshiping a goddess, for such worship of a deity of one’s own gender violated the principle of sexual polarity. (King, p. 50) This led to transvestism in various rituals and worship ceremonies -at the shrine of Aphrodite in Cyprus female worshipers dressed as men, while the priests of Hercules at Coos only sacrificed when clad in female garments. The corrupt ritual magic of the Middle Ages reversed this -the magician had to be of the same sex as the force he or she invoked. Since time is non-linear -the fertility cycle was seen as a serpent biting its own tail-cyclical conception was a necessary product of fertility itself, and therefore the seasonal patterns became apparent -seeds germinated in the spring, plants grew in the summer, ripened in autumn, died in winter, and in spring -the cycle starts again with rebirth. It was through this that the fertility cycle was seen as a personalized and hierarchic structure of nature -and nature had features common with humanity, as being approachable by and communicable with mankind -and as being hierarchic it was made up of a hierarchy of
spiritual entities extending downwards from the sky father and the earth mother, to the minor god-lets of springs, trees, and rivers. The fourth characteristic -a belief in the law of cause and effect -the fertility cycle was not seen as an event that ‘just happened’, but as being caused by the benevolent intervention of the many non-human entities who made up the hierarchy of nature. Thus either crop failure or the sterility of man and/or beast was never seen as the result of natural disasters but the results of supernatural powers deliberately withholding the gift of life. This led to magic, ritual, and religion to largely affect nature by either placating or manipulating the beings that controlled it. Overall symbolism of primitive fertility cults were often derived from the act of human copulation (the sky father and the gods were represented as ithyphallic -with erect penis; and the earth mother was often shown as being grossly pregnant, enormously full breasted, and with exaggerated vaginal labia). The sacred copulation of the god and goddess was frequently considered as being the original act of creation that had given birth to the universe, and this heavenly marriage was re-enacted each year, not only by the Gods, but by human beings, thus ensuring the renewal of fertility.

Other Methods to Sex Magic:


  1. Tantra
  2. Psycho sexual Power and Tantric Exercises
  3. Asanas of Love for KundaJini Arousal
    • Oral Congress
    • the Auto sexual Gesture
    • Anal
      Intercourse
    • Intercourse

  4. Modem Witchcraft
  5. Psychedic Drugs
  6. Tantric Weekend

Methods at Altering Consciousness for RituaJ: (8 fold way of the Craft)


  1. Meditation or concentration
  2. Trance states, clairvoyance, projection of the astral, etc.
  3. Drugs, wine, incense .
  4. Dance, performing rites with a purpose
  5. Chants, spells, etc.
  6. Blood control (cords, etc.), Breath control
  7. Scourge
  8. Sex magic/intercourse

Bibliography:

  • Baurley, Thomas “Ethnography ofWicca in the Southeastern U.S.” -1996, Florida State University.
  • Baurley, Thomas “Introduction to Neo-Paganism” -Workshops, CPE / Free Spirit / Tree Leaves Folk Fellowship -Tallahassee, Florida (1990-1999)
  • Baurley, Thomas “Introduction to Magic” -Workshops, CPE / Free Spirit / Tree Leaves Folk Fellowship -Tallahassee, Florida (1990-1999)
  • Baurley, Thomas “Introduction to Wicca” -Workshops, CPE / Free Spirit /
    Tree Leaves Folk Fellowship -Tallahassee, Florida (1990-1999)
  • Farrar, Janet & Stewart “The Witches Bible”. Magickal Childe (UK: 1984)
  • King, Francis “Sexuality, Magic, and Perversion” (London: UK -Neville
    Spearman, 2002 -ISBN: 0922915741)
  • Schreck, Nikolas and Zeena “Demons of the Flesh: The Complete Guide to Left Hand Path Sex Magic” (Creation books: Paris, 2002 -ISBN: 184068061 X)
  • Valiente, Doreen “An ABC of Witchcraft”
  • Valiente, Doreen ”Natural Magic”

Handout: Asanas of Love – Oral Sex ~ tantra-handout-oral-asanas-of-love

Handout: Sex Magic 101 ~ sex-magic-101-handout

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