Contemporary Pagan Studies is an interdisciplinary Unit, and we welcome submissions of theoretically and analytically engaged papers and panels relating to modern Paganism and Polytheism, employing scholarly analysis to discuss the topic from any relevant methodology or theoretical orientation. In addition to receiving paper or panel proposals on topics generally in the purview of Contemporary Pagan Studies, we especially welcome proposals that address the following themes:
• Cultural appropriation.
• Contemporary approaches to magic.
• Practices involving ancestor worship or devotion.
• What are the analytical frameworks we use to discuss paranormal or magic phenomena?
• The works of Philip Pullman
• How is the current interest in Heathenry being impacted by trends in popular culture and media? In particular we seek papers exploring the influence of television shows such as “The Vikings”, the rise of interest in genealogy and ancestry.com, internet message boards and meme culture, and Marvel. (Co-sponsored with the Religion and Popular Culture Unit).
Statement of Purpose
This Unit provides a place for scholars interested in pursuing studies in this newly developing and interdisciplinary field and puts them in direct communication with one another in the context of a professional meeting. New scholars are welcomed and supported, while existing scholars are challenged to improve their work and deepen the level of conversation. By liaising with other AAR Program Units, the Unit creates opportunities to examine the place of Pagan religions both historically and within contemporary society and to examine how other religions may intersect with these dynamic and mutable religious communities.
Solitary Pagans is the first book to explore the growing phenomenon of contemporary Pagans who practice alone. Although the majority of Pagans in the United States have abandoned the tradition of practicing in groups, little is known about these individuals or their way of practice. Helen A. Berger fills that gap by building on a massive survey of contemporary practitioners. By examining the data, Berger describes solitary practitioners demographically and explores their spiritual practices, level of social engagement, and political activities. Contrasting the solitary Pagans with those who practice in groups and more generally with other non-Pagan Americans, she also compares contemporary U.S. Pagans with those in the United Kingdom, Australia, and Canada.
Berger brings to light the new face of contemporary paganism by analyzing those who learn about the religion from books or the Internet and conduct rituals alone in their gardens, the woods, or their homes. Some observers believe this social isolation and political withdrawal has resulted in an increase in narcissism and a decline in morality, while others argue to the contrary that it has produced a new form of social integration and political activity. Berger posits the implications of her findings to reveal a better understanding of other metaphysical religions and those who shun traditional religious organizations.
In addition, she has mentored a number of younger social scientists studying contemporary Paganism (and other things) as well as having served on the steering committee for Contemporary Pagan Studies within the American Academy of Religion.
I will be looking to find this book at the AAR-SBL book show in November and will probably come home with a copy.
Caroline Tully is an Australian scholar of Classics, archaeology, and esotericism with a background in fine arts:
I am an Honorary Fellow in the School of Historical and Philosophical Studies at the University of Melbourne. I have a Bachelor of Arts in Fine Art from Monash University, Graduate and Postgraduate Diplomas in Classics and Archaeology and a PhD in Aegean Archaeology from the University of Melbourne. From 1996 to 2010 I worked as a professional tapestry weaver at the Australian Tapestry Workshop, during which (from 1999 to 2005) I also worked as a feature writer, reviewer and news and events editor at Australia’s Witchcraft Magazine. I returned to university study in 2004, started PhD research in 2009 and was awarded my Doctorate in 2017. My PhD, which is on tree worship in the Late Bronze Age Aegean and East Mediterranean (primarily Crete and mainland Greece, with comparative material from Cyprus, the Levant and Egypt), is currently in press with Peeters Publishers and due out this year. I also work on the reception of the ancient world, particularly the ways in which ancient Egyptian and Minoan (Bronze Age Crete) religions have been interpreted by late nineteenth century British magicians such as the Hermetic Order of the Golden Dawn and their spiritual heirs, the 20th and 21st century ceremonial magicians, witches and Pagans.
The Wild Hunt had a short interview with her last year, but here is a long version of her interview by Rick de Yampert.
I think Paganism is inherently creative because of its this-worldly, rather than other-worldly, focus. There is a wide spectrum of aesthetic expression that manifests in the materiality of Paganism; in the ritual objects we use, the way we design rituals, our robes (or lack thereof), direct – bodily – contact with deities, ecstatic expression, sexuality, and the general artistic legacy of all forms of ancient pagan religions that we are able to draw upon in order to create our religion and rituals. However, the initial impulse to create this special issue came from the creativity, often aligned with business savvy, of Witches on Instagram; the sex-positive feminist collective website, Slutist.com; and the fact that Witchcraft was appearing in high fashion contexts such as catwalk collections and featuring in magazines like Vogue. Witchcraft has become glamorous – and I’m not talking about its traditional faerie glamour, but fashionista glamour. Bloggers, Peg Aloi (“The Young Ones:Witchcraft’s Glamorous New Practitioners”), and Thorn Mooney (“The HipsterWitch: Aesthetics, Empowerment and Instagram”), have already noted that this is a new kind of Witchcraft, less focussed on deities, Pagan history and community, and more focussed on self-care and characterised, to quote Mooney, by “a strong entrepreneurial streak”. These Witches are also politically active, more multicultural than Paganism has traditionally been, and read magazines like Sabat and Ravenous, and books like Kristen J. Sollee’s Witches, Sluts, Feminists: Conjuring the Sex Positive. This issue of The Pomegranate is interested in research on these new slick Witches – who are they? Are they really so new after all? What does it mean for Witchcraft to be so distinctively stylish?
Although Beltaners – members of Edinburgh’s Beltane Fire Society (BFS) – can trace the immediate origins of their society’s festivals to the collaborative efforts of anarchist performance artists and folklorists reacting against the Thatcherite government policies of the late 1980s, the ritual celebrations they routinely re-enact in the present ultimately derive from much older traditions associated with Scotland’s highly minoritised Gaelic-speaking population, a cohort to which few modern Beltaners belong. Performers at today’s festivals often incorporate runes into their regalia – a practice which does not reflect Gaelic tradition, but which is not unknown among ideologues of the far right. This paper interrogates rune use at BFS festivals, asking whether the employment of Germanic cultural elements in Celtic festivals by non-Celtic-speakers represents a distortion of history and debasement of an embattled ethnic minority, and whether it is ethically acceptable for an explicitly anti-racist organisation to share a symbolic repertoire with representatives of known hate groups.
Based on data derived from fieldwork consisting chiefly of participant observation and on the consultation of relevant academic literature, this paper evaluates the potentially problematic nature of BFS ritual performers’ rune use and related behaviours by analysing the intentions that underlie their actions, the consequences that have resulted from them, and the historical interaction of runes, ethnonationalism, and the occult that has shaped perceptions of runic meaning among those who use runes in modern times.
The runes may be part of your spiritual practice, or maybe you enjoy their literary history, but watch out: Adam Dahmer thinks that they are “problematic.”
Sit back: there is lots here on Gardnerian Wicca in the 1950s, Gardner’s own lack of charisma by religious-leader standards and his puckish sense of humor, why the North American Gardnerians went wrong in trying to enshrine one Book of Shadows, and Lamond’s own thoughts on how patriarchal monotheism came to dominate the world.
This documentary begins with a protest of Z. Budapest speaking about witchcraft at the St. Theresa Public Library in San Jose, California on July 12, 1986. What follows are formal and informal interviews of Pagan leaders explaining what Wicca is, how the general public has a misconception of what witchcraft is, and why it is important for practitioners to come “Out of the Broom Closet” to educate the public.
In editing the current issue of The Pomegranate, one of my “favorite” issues came up again: whether or not Pagan is capitalized.
American scholars and Pagan authors tend to say yes. There has been a small campaign to convince the editors of the Associated Press Stylebook, widely used in the news media, and the Chicago Manual of Style, widely used by university presses and serious nonfiction publisher.
It’s a matter of accurate labeling and of respect. If Muslim, Hindu, etc. get capital letters, so should Pagan.
This is not an issue that will be settled in a year, or even two or three. But I have hope.
Meanwhile, “pagan” can be used in direct quotation, particularly when it has the sense of “irreligious,” as in C. S. Lewis‘s reference to the Roman poet Ovid as “that jolly old pagan.” (But he was also a cap-P Pagan, in my view.)
On the other hand, writers in the UK tend to lowercase “pagan.” Others try to split the difference, using “pagan” for the ancients and “Pagan” for practitioners of post-1900 Pagan traditions, i.e. “Neo-Pagans.”1)And that term, popular in the 1970s–80s, is more and more supplanted by “contemporary Pagan” or “modern Pagan.”
To my editorial eye, this approach is worse than no capital P at all. Imagine someone writing this: “Ancient pagans and today’s Pagans differ in their attitudes toward animal sacrifice.”
The reader might think that someone had either forgotten to capitalize one “pagan” or mistakenly capitalized the other. Confusing.
The historical definition of the term “Hindu”, brought by the Muslim invaders, does not define a specific worldview and practice, as the definitions of Christianity and Islam do. “Hindu” is a geographically defined slice of Paganism, viz. all Pagan (=non-Christian, non-Muslim) traditions coming from Bharat (India). This means every possible belief or practice that does not conform to either Christianity or Islam. It includes the Brahmins, the upper and lower castes, the ex-Untouchables, the Tribals, the Buddhists (“clean-shaven Brahmins”), the Jains, and many sects that didn’t even exist yet but satisfy the definition: Lingayats, Sikhs, Arya Samaj, Ramakrishna Mission, ISKCon. I am aware that many now refuse to be called “Hindu”, but since they satisfy the definition, they are Hindu, period. Elephants are not first asked whether they agree to being called elephants either.
My preference, too, is to use capital-P Pagan for all non-monotheists, ancient or modern. It is a simple and orthographically uncomplicated solution. And if anyone questions it, just refer them to the umbrella term “Hindu,” now accepted by (almost all) Hindus.
A few items for context: a.) My family immigrated to Northern California shortly after the Gold Rush, and that’s where I grew up; b.) it was apparent to me that Fairy beings of European character were present and active in Northern California, and I later gathered that post-Gold Rush practitioners had more or less done things to make these Fairy beings feel at home; and c.) it was apparent to me that the European settlement of the Americas–and particularly the European settlement of California–had massively, catastrophically disrupted Native American lives and cultures and those of resident Fairy beings known to Native Americans. In my experience, at least, contact with Fairy beings of NativeCalifornian character was complicated and chancy. (Read the whole thing.)
You can read quite a few supportive stories if you look at the North American section of The Fairy Census 2014–2017 (PDF file, 5.3 MB).
It is part of an ongoing research project, the Fairy Census.1)Ha, like it’s possible to count them!
The Fairy Census is an attempt to gather, scientifically, the details of as many fairy sightings from the last century as possible and to measure, in an associated survey, contemporary attitudes to fairies. The census was inspired by an earlier fairy census carried out by Marjorie Johnson and Alasdair Alpin MacGregor in 1955/1956, a census that was published in 2014.
There are two (anonymous) census forms: one for witness accounts and one for second-hand accounts (experiences of grandma, uncle, friend etc). Confidentiality is assured and, in the case of publication, personal details will be changed to assure anonymity. Note, however, that by filling out these forms you approve their use in an academic survey.
Some of the results (Fairies speaking Irish?) would sound like the Fair Folk came over the water. But maybe they just offer up whatever will resonate or disturb us the most. (“Gray” aliens, for instance.)
In the PDF, the experiences, recorded between 18 Nov 2014 and 20 Nov 2017, are divided into five sections based on geography: Britain and Ireland; North America; Europe; Australasia; and the ‘Rest of the World’. Editor Simon Young, a British historian who has written extensively on the topic of folklore, says that the Census is being released in PDF format free of charge in the hope that it will allow and encourage others to undertake their own research into the topic of fairies.
In my own comment, I mentioned Alex Bledsoe’s “Tufa” novels. In his telling, the Fair Folk were here before the first immigrants followed their dogs through Berengia, tens of thousands of years ago. I suppose that that is possible.
I like this one. I have added some paragraph breaks, punctuation, and notations.
§215) US (Alaska). Male; 2000s; 31-40 . . .
‘I, at the time, worked as a sawer [sawyer] for *** crew fighting wildfires in the Alaskan interior forests. As we were cutting line around the fire, it began to rain a bit ,and for the most part the fire was controlled but still not contained.2)There is a technical distinction here used by wildland firefighters.
It is our job to cut line around the entire fire to eliminate any chance of it drying up and spreading. So it was [a] low-adrenaline regular run-of -he-mill day at work. Slow and steady. My saw partner and I would each run the saw till the tank ran out and switch. One would act as saw[y]er and the other as swamper.3)The assistant who tosses the cut branches and small tree trunks out of the way. As we switched tanks, I began to cut and he began to swamp the trees; the burnt hot ones go into the black while the green ones went to the green side, this [thus] cutting our eight to ten foot control line on top of this rocky ridge.
As I was cutting down these pecker poles about two to three inch wide and ten to fifteen feet tall, I went to cut into the bottom of one, and right before my eyes the tree shrunk down and a not-so-handsome little man about a foot tall with a beard and many wrinkles on his face stared up at me and screamed ‘Noooooooooooooooooooooooooooooooooo’.
My hands held steady [on]the saw that vibrated from the four hundred and fifty cc motor and my eyes widened large. My partner later told even through the screen protective lenses he could tell something [was] amiss.
He yelled ‘***, *** [the sawyer’s name].’ With no response, I stood stiff. He shook my shoulder; then my partner, a seasoned veteran and paramedic shut off the saw and again asked me what happened? I still stay[ed] stiff into [sic] he turns me with grabbing both shoulders and tells me to take a seat. For fifteen minutes he tries to get what happened out of me.
How could I tell this man who trusts me with his life that I saw? That I saw… Finally he says he will have to call our crew supervisor,. I turn to him and say ‘***, I saw an elf!’ He looks at me and just shakes his head in full acceptance. I look puzzlerd, I say ‘You saw it too?’ He says ‘no’. I say ‘what?’ Trying to read his mind, ‘others, others on the crew have seen them?’ He nods his head, yes. Understanding this I keep silent and continue about my day. I nor the others on the crew were ready to share and hold their truth amounts the possibility of fall out that could have incurred. Happy to share it now. Blessings and love to the many dimensional beings we share this world with.’
‘Old rugged kinda ugly though I don’t like to say so. Kinda bald and dirty.’ ‘I said elf to my buddy but it could easily be a name. I just know what I saw. It was in the woods, and my wisdom spoke up and remembered something that lay dormit [? dormant].’ ‘[Fairies are] a dimensional being that can support humans if they wise up in connection with Mother Earth. Fairy is a large dimension of characters. Some to trust while others are a bit more tricky.’ ‘Being a thirty-nine-year old man that has retired from a job that most people considered brave, tough, and masculine. I love sharing this story to those who are like. Well I [it?] got me thinking anyway.’
I’m not the sawyer on our fire department’s crew, but I took the class. My own chainsawing usually takes place on the hill behind the house, for reasons of firewood or fire mitigation. I don’t feel so bad about cutting dead stuff—and I have left a few beetle-killed pines for the cavity-nesting birds, but I get more and more edgy about cutting live stuff.
“Hey, I need to cut these little trees, Just pretend that I am a fire, OK? It will mean more water for the rest of you.”
We have forest fire burn scars4)That’s the new term. We used to just say “burns.” on all side. If you are going to live as an animist, there is always someone else you have to talk to.