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

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

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

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”

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

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,” in other words, free downloads.

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”

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”

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

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.

The Pizzica Video that Tore My Heart

Just as the reality of coronavirus lockdown descended (even on those of us who live in lightly populated areas), two different Facebook friends linked to this YouTube video, released on April 17th. The location is the Piazza Sant’Oronzo in the southern Italian city of Lecce, at the heel tip of the “boot.”

The dance is a traditional style called pizzica. I had learnt about it only recently, when I met an Italian scholar living in the US, Giovanna Parmigiani, who published an article in The Pomegranate: The International Journal of Pagan Studies about how some residents of that region were, in a sense, re-paganzing the dance, but in their own unique way, reflective of their regional history and their understanding of tradition.

While the opportunity exits, you can download her article, “Spiritual Pizzica: A Southern Italian Perspective on Contemporary Paganism,” for free. Just visit the linked page and click “PDF.”((If this free download does not work for you during the summer of 2020, please contact me.))

Based on conversations with Giovanna, reading her work, watching videos, I realized that the Lecce dancer’s performance turned the pizzica tradition on its head.

  1. Instead of being at a crowded festival, the dancer is alone.
  2. Instead of wearing white, she is wearing black.
  3. Instead of having live music, she dances to recorded music.
  4. Instead of being in a crowd, she is alone.
  5. She is alone.

The newspaper La Repubblica picked it up and placed the video on its own YouTube channel, commenting

A dancer dressed in black dances the pinch in the heart of Lecce. In Piazza Sant’Oronzo, on what is the symbol of the city: the coat of arms of the She-wolf, on which the woman moves almost as if she wanted to awaken everyone from slumber. The video that appeared on Facebook has become a sort of exorcism, in the days of quarantine due to the Coronavirus pandemic. The taranta of evils to be chased away at a mad pace is known, and this is the message launched by the dancer. Who, assures those who filmed it by turning off the social controversy that have not missed, lives 40 meters from the square, and then moved within the limits imposed by the [lockdown] decree [Translated with www.DeepL.com/Translator].

I get the “exorcism” part, but watching this late at night sent me into a horrible dystopian place, a real tragic place, where the dancer and the few passers-by (and the cop at 2:39) were the last people in a deserted city, not exorcising but defying their inevitable deaths from . . . .whatever it was.

When I remember the spring of 2020, I will remember this video as much as I remember the equally deserted Main Street of my nearest little town.

For even though my daily life has “social distancing” built in and even though I do have easy contact with nonhuman nature, and thank the gods for that, I know that I am still connected to the collective unconscious and the world soul, not to mention the internet.

And so I have had some really chilling dystopian dreams, right down to masses of people committing suicide becasue there was nothing left to live for and no way to survive. That particular dream might partly have been launched by reading Cormac McCarthy’s The Road the week before at the urging of a friend.((His own son is named Cormac — what does that tell you?)) Bad choice. But without the pandemic, I doubt it would have lodged itself in my psyche.

On a happier note, Giovanna is expanding her paper into a book, The Spider Dance: Tradition, Time, and Healing in Southern Italy, which will be published in Equinox Publishing’s Pagan studies book series one of these days. Dance on!

Another Strange Old-Time Pagan Burial Custom

In this reconstruction, the Mesolithic man, who died in his 50s, wears a wild boar skin. (Image credit: Oscar Nilsson)

If you read something about “a head on a stake,” you probably imagine someone’s head — on a stake — outside the camp of the colorful but violent ancestors. This is different.

About eight thousand years ago in southern Sweden, several people were “buried,” that is to say, placed underwater and their bodies staked down — yet this was done respectfully?

Archaeologists discovered the man’s skull, as well as the remains of at least 10 other Stone Age adults and an infant, in 2012 at the bottom of what used to be a small lake in what is now Motala, a municipality in eastern-central Sweden. However, only one of the adults had a jaw; the rest were jawless, and two of the skulls had been placed on stakes sticking out from the lake’s surface.

The skulls of the dead showed wounds, but also signs of healing. And there were lots of animal bones in with them.

The discovery of a burial containing 8,000-year-old battered human skulls, including two that still have pointed wooden stakes through them, has left archaeologists baffled, according to a new study from Sweden.

It’s hard to make heads or tails of the finding: During the Stone Age, the grave would have sat at the bottom of a small lake, meaning that the skulls would have been placed underwater. Moreover, of the remains of at least 11 adults placed on top of the grave, only one had a jawbone, the researchers said.

The burial did contain other jawbones, although none of them, except for an infant’s, were human. While excavating the site, archaeologists found various animal bones, including dismembered jawbones and arms and legs (all from the right side of the body), said study co-lead researcher Fredrik Hallgren, an archaeologist at the Cultural Heritage Foundation in Västerås, Sweden. [See Images from the Mysterious Burial Found in Sweden]

You can watch the reconstruction of one man’s skull in here. The work is done by Oscar Nilsson, a Swedish forensic artist, who has reconstructed the appearance of a number of ancient people.

A bear’s jawbone, with scrapes from the butchering process indicated. (Image credit: Sara Gummesson; Antiquity 2018)

Here is a photo gallery of images from the site.

Seven of the adults, including two of the females, showed signs of “blunt-force trauma” on their skulls, the researchers wrote in the study. But this trauma didn’t kill them, at least not immediately, because all of the skulls showed signs of healing, [Swedish archaeologist Fredrik] Hallgren said.

So we have people who have been clubbed in the head laid to rest in the lake — but maybe not immediately after they were injured, since some showed signs of healing. For an unknown reason, their lower jaws are missing.

Were they “us” or “them”?

Some hunter-gatherer people are known to deposit animal bones in lakes to encourage their rebirth — you can think of the lake as a womb or perhaps a gateway to the Underworld. And there are traditions of throwing weapons, personal ornaments, and other items into lakes as well.

You could speculate, therefore, that these were “us” — members of that group who were returned to the “womb,” even as the hunters want the animals to be re-born.

On the other hand, heads sticking up on stakes above the water are . . . trophies? guardians? something else?

In an article that I am preparing for the next issue of The Pomegranate: The International Journal of Pagan Studies,((Free downloads all summer!)) Diane Purkiss of Oxford University writes,

In creating anodyne and harmless religions, we risk creating powerless religions, religions that cannot address the overpowering emotions that accompany human life. By contrast, our Pagan ancestors understood only too well just how vicious and uncomfortable the relation between the self, time, and nature truly is.

The old-time people had multiple and creative responses to death, we can say that much.