Category Archives: Uncategorized

Call for Papers: Fairies and Gothic Literature and Culture

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“Fairies and fashion” as a suggested topic? Someone must have seen my “Dior Dresses the Fair Folk” post! Seriously, there are some fascinating topics under potential consideration for this conference:

Call for papers: Gothic encounters with enchantment and the Faerie realm in literature and culture

University of Hertfordshire, 8–10 April 2021.

The Open Graves, Open Minds (OGOM) Project was launched in 2010 with the Vampires and the Undead in Modern Culture conference.We have subsequently  hosted symposia on Bram Stoker and John William Polidori, unearthing depictions of the vampire in literature, art, and other media, before embracing shapeshifting creatures and other supernatural beings and their worlds. The Company of Wolves, our ground-breaking werewolf and feral humans conference, took place in 2015. This was followed by The Urban Weird, a folkloric collaboration with Supernatural Cities in 2017. The OGOM Project now extends to all narratives of the fantastic, the folkloric, the fabulous, and the magical.

More details at the association’s blog.

The Morrigan, Therapy, and Female Self-Narration on Social Media

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Idealized interpreation of the Morrigan

The Morrigan (great queen, sometimes seen as a trio of goddesses. (DePaul University.)

From The Pomegranate’s special issue on Paganism, art, and fashion, here is a link to Áine Warren’s article, “The Morrigan as a ‘Dark Goddess’: A Goddess Re-Imagined Through Therapeutic Self-Narration of Women on Social Media.”

Áine Warren

Áine Warren, U. of Edinburgh

It and other Pomegranate articles are currently available as free downloads.

Here Áine Warren talks about her research on women and the Dark Goddess.

A related blog.

An article on Pagans, the Morrigan and YouTube,
from the Journal of Contemporayr Religion.

Northern Wolves: Garb and Shiny Boots in a Polish Pagan Order

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Tattooed man holding medieval sword

Tattoos on the body of Igor Górewicz, a noted Polish Slavic Pagan famous for Viking reenactment (not ZZPW).

In his article “Wolves among the Sheep: Looking Beyond the Aesthetics of Polish National Socialism,” Polish cultural anthropologist Mariusz Filip examines the symbolic meanings of tattoos, re-created medieval garb, and modern paramilitary uniforms in the Polish Pagan group Zakon Zadrugi “Polnocny Wilk,” (the Order of Zadruga “Northern Wolf”).

Military-style boots worn by ZZPW members.

The artiicle is part of the “Paganism, art, and fashion” special issue of The Pomegranate: The International Journal of Pagan Studies, guest-edited by Caroline Tully. It and the other contents will be available as free downloads for a limited time.

What Female Heathen Instagrammers Reveal

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Instagrammer Helheimen as the goddess Hel.

Instagrammer Helheimen as the goddess Hel.

Another article from the new issue of The Pomegranate on the theme of Paganism, art, and fashion, guest-edited by Caroline Tully.

“Hashtag Heathens: Contemporary Germanic Pagan Feminine Visuals on Instagram,” by Ross Downing. You can download the entire paper free at the link this summer. Here is the abstract:

A rising number of young adult females use Instagram, posting pictures with hashtags which alert Instagram users to their specific interests. Heathens have also begun to use Instagram and in order to better understand this new feature of the religious movement I interviewed fifteen Instagram account owners whom I identified by three factors.

1. Their use of three or more of the following hashtags: #norsewitch #heathengirl #seidr #volva #galdr #norsepagan #heathensofInstagram #witch #runes #viking #shamanism #witchesofInstagram
2. Their personal identification as Heathen, Asatru, Norse Pagan, or otherwise expressing spiritual belief in a Nordic mythology.
3. The account had at least 500 followers, indicating the likelihood of having an impact on Heathens, Pagans, and sympathetic individuals.

My focus is to document the processes and dynamics of Instagram as a medium for religious communication from the point of view of producers of religious content: the alpha Instagram account owners. The data shows that these young females apply significant theological thought in their posts and most have a strong sense of responsibility to teach others about Heathenry. The data departs from previous research on Instagram and Heathenry in that the account owners appear to have altruistic motives in the first instance and an affirmative non-political epistemology in the second.

 

Fashion Designers Borrowing from Paganism

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From a fashion shoot at Breen Down— site of Dion Fortune’s novel The Sea Priestess. Headpiece by Charlotte Rodgers, photo by Marc Aitken (www.marcaitken.com).

In her Pomegranate article “High Glamour: Magical Clothing and Talismanic Fashion,” designer Charlotte Rodgers asks, “Why now?”

The iconography and visuals associated with magic are highly evocative and responsible for a major part of its appeal. The strong, often iconoclastic imagery exerts a particularly powerful draw for the artist or craftsperson because of its ability to fire the imagination, and to inspire creative work in response. Until recent times, creative interpretations of magic within mainstream fashion have mainly been on a subtle and subversive level; generally within a counter cultural context.  So why is magical symbolism being appropriated within high fashion at this particular point in time?

This article is part of Pomegranate’s “Paganism, Art, and Fashion” special issue, guest-edited by Caroline Tully. All content may be downloaded for free at this time.

Paganism, Art, And Fashion: “Feminist Interpretation of Witches”

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Sheela-na-gig figure interpreted by the Swedish artist Monica Sjöö (1938–2005).

In her artlcle for The Pomegranate, Katy Deepwell, editor of the feminist art journal n.paradoxa, discusses “Feminist Interpretations of Witches and the Witch Craze in Contemporary Art by Women.” (Free download at this time — and the illustrations are in color where possible.)

In her abstract, she writes,

This article considers feminist interpretations of the witch in contemporary art in relation to the witch craze: examples are by Georgia Horgan, Ann-Sofi Sidén, Mathilde ter Heijne, Monica Sjöö, Tania Antoshina, Helen Chadwick, Jesse Jones, and Carolee Schneemann. The argument explores the ways that the figure of the witch is analyzed in three different feminist critiques of patriarchy, and subsequently pursues how these ideas have been taken up in contemporary art by these women artists. The differences between three authors: Matilda Joslyn Gage (1893); Mary Daly (1984); and Silvia Federici (2004) are highlighted and contrasted to other historians’ analyses from the last thirty years of the fate of women accused as witches during the European Witch Hunt between the fifteenth to eighteenth centuries. This was a paper given at Misogyny: Witches and Wicked Bodies, Institute of Contemporary Arts, (ICA) London in March 2015.

The “Paganism, Art, and Fashion” Issue of the Pomegranate

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Design by Gareth Pugh inspired
by the Padstow Oss.

A new issue of The Pomegranate: The International Journal of Pagan Studies devoted to Paganism, art, and fashion has been published online (print to follow) and is currently available as “open acess.”

It is guest-edited by Caroline Tully (University of Melbourne), who writes in her introduction,

This special issue of The Pomegranate on Paganism, Art, and Fashion was inspired by the increase in the last few years of both extremely beautifully styled and curated witchcraft and Pagan accounts on social media, often owned by young women who are also selling related products, and apparent interest in witchcraft and associated magical topics by fashion designers and magazines. Glamorous “witch” accounts on Instagram feature carefully composed and choreographed, beautiful images that rival the professional photography of fashion publications. In these romanticized visual vignettes young women adopting a witchy aesthetic are the stylists, models, and photographers, as well as business owners, mixing aesthetics, popularity and entrepreneurship together as part of an empowering fourth-wave-feminist-meets-New-Age package. Such accounts are made by and cater to the new, young, intersectional iGen witches, but fashion mega-brands are also realizing the appeal of Pagan archetypes and subsequently plumbing the now decidedly vintag second-wave feminist penchant for female empowerment through the idea of the “Great Goddess.”

I will be uploading more links as the week goes on.

Pagan-ish: “Akira Kurosawa’s Dreams”

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One of the last films made by the famous Japanese director Akira Kurosawa (1910–1998) was Dreams, which he wrote himself, based on his own dreams. It premiered in Cannes in 1990 to “a polite but muted reception.”

A series of unconnected stories, its themes as “childhood, spirituality, art, death, universal disasters and man’s mistakes regarding the world.”

As a Pagan, I notice that it opens and closes with processions, which I think are the most elementary form of ritual, more basic even than ritual circles. The first procession, however, is not meant for human eyes. It is a wedding procession of the “foxes” (Japanese, kitsune). I am no expert on Japanese lore, but they seem in what I have read to act a lot like the Fair Folk. When a little boy witnesses their procession, he is in big trouble.

Here is an excerpt from “Kitsune Wedding,” and you can get the whole movie from Netflix or elsewhere.

“If Ancient Olympic Gods Lived in America Today”

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Please forgive the “If,” it was in the tile of the original. Religion Unplugged is not necessarily polytheist-friendly. I think, however, that  David Ahmanson got Artemis pretty well.

Read about all the Olympians here. Would Athene be a Republican??

Dior Dresses the Fair Folk

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This promotional film has me thinking of the special “Paganism, Art, and Fashion” issue of The Pomegranate, guest-edited by Caroline Tully, University of Melbourne, and coming very soon

Or at least it is the very object correlative of “Pagan-ish,” which is how I will label it.