1 2 2003 by All rights reservedNo portion of this book including art may beeproduced express consent fromthe author Exerpts taken for review purposesart by by Anaar unless other 3 this book to ID: 846510
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1 1 meditations, 2 2003 by All rights rese
1 meditations, 2 2003 by All rights reserved.No portion of this book, including art, may beeproduced express consent fromthe author. Exerpts taken for review purposesart by by Anaar unless other- 3 this book to my Goddess-parents,Their great gift to me was to prI am proud to pass on this living heritage. 4 his book is written by April who is a student ofictor Anderson and she explains Feri very well.eligion. April was a very good student of Victors andmuch of what she wrote comes directly from his teach-ings. She is reliable and comes to see me every weekwhich I appreciate very much.I remember when she first came to visit. I made a lunchfor her and Renee. We became instant good friends thatday. I also remember us working on a Tree of Life quilt.Everyone that sees it likes it. That was when I taughther the sewing magic. I enjoyed working with her on itstraighforward. 5 V Night Mares foal,Fractured planes of form,Stamping hooves, brocades of colo
2 r.Like Vertigo.ornado forms of color.fla
r.Like Vertigo.ornado forms of color.flashing through the wavesof Vertigo. 6 riting this introduction is an act of magic. Ifinished before writing this. Thinking, whywrite an introduction until I understood completelywhat form this book would take? Im coming to manydead ends, thinking perhaps I dont really have muchto say. Then it occurs to me, that waiting is an upsidedown approach. Why not use the art of writing to cre-ate the writing? By this act I hope to set the parametersof my thinking, to order them if you will. It is a spell, acauldron for my Emi, to brew my thoughts and experi-My artistic tradition stem from my religious tra-dition. The work I do, and the way it is done is a directesult of my training as a priestess. As children weplayed a game with string. Holding the string we woveuniverse, between our hands fell a web of magic. Mim-icking the Star Goddess, we held a web of power. I divebetween my partners hands to lift this net,
3 foreverchanging its shape. And she div
foreverchanging its shape. And she dives into mine, chang-ing it again. Artists, like children are weaver shamanscreating a world between their hands.My process has been described as an explorationof the intersection of Feri and the arts. It is the processof creation, and is central to my intimate connection toGod Herself. These meditations come from personalpractice; some are a gift from the Goddess, in dreamand memory; most are from the teachings of the Grand-master Victor Anderson.The ground of this work is the blood source ofour Feri ancestors, running in our veins. The expres-sion is our lore, the awesome power of night and day. The source is the sensual ritual of The Star Goddess,manifest in our bodies. The language of Feri is the lan-guage of poetry, of art, of ritual. The foundation of thisThis is a collection of reflections, ruminations,and meditations on the White Wand of the Feri Tradi-tion. It is not my intention to provide the final wo
4 rd onFeri. I hope only to continue this
rd onFeri. I hope only to continue this lifelong dialogue.Many ideas within this book are so familiar to me that Icannot access the original source. They are in fact sosource is within. If you find that I have failed to ac-knowledge a mentor, please contact me and I will rec-tify the situation immediately.basic principles of Feri. For this I would refer you toFifty Years In The Feri Tradition by Cora Anderson.For a beautifully poetic understanding of Feri readThorns of the Blood Rose by Victor Anderson. Thereare many other books and several websites available asIn order for the non-student to fully appreciateThe Star Goddess, the Triple Soul and mana must beintroduced. And what book on occult art is completewithout a Creation Myth? Following is a retelling ofthe Feri Creation Myth: The Great Unfolding. He is rocking back and forth, a small man witheyeglasses nearly overpowering his face. Behind thehuge misty lenses lie brightness. Hunched over
5 his lap,feet bulging from his house slip
his lap,feet bulging from his house slippers, the fingers of hisgreat hands twirl upon itself, the poetry of that hand isentrancing. His rich honeyed voice is singing the greatmagic now. He sings to me:Darkness is older than Light. The sun and eachstar is surrounded by a vastness of dark. The universe in the womb of the Natural Mother of the Universe. Sheis not a necessary cause of creation, the Blessed Virginof the Outer Darkness needed no help. Creation wasfrom a fertilized egg. Only in this case, the Blessed Vir-because She was the Natural Mother, the natural exten-sion of the universe, just as we are the natural exten-sion in Nature when we bring forth a child.potency of Nature, including the Male. Star Goddess,Holy Ghost. She is the Aumakua of the Universe somine is a part of Her. She is Virgin because She neededno other to create. Her companion the God is broughtforth from Her because the male is mutated out fromthe female. The Goddess too
6 k unto Herself Two BrightThese Spirits a
k unto Herself Two BrightThese Spirits are with Her at all times, but we speak ofeither one of them as the God because they are exactlyalike! Identical Spirit Twins, the Bright Dual Consort ofthe Blessed Mother.tions. He twists in his rocker, turns his head, smiling.The warm drowsiness of his song nearly overtakes me,I rub it out of my eyes and sit up, also smiling.In the story Victor mentions the Aumakua. Themakes up a portion of our etheric anatomy. The soul isnot contained within our body, but surrounds it. Ourdynamic soul is made into three parts, but cannot beconsidered separately. All three parts are entities in their own right, but are also sharing the same consciousness.For greater understanding, listed below is a chart forsome of the names for our Triple Soul. One of the roles of our Vivi is to create and storemana. Vivi is also the first to create emotional statesand can be impulsive. For example, Vivi is the first partof the Triple Soul t
7 o fall in love. It is the container ofw
o fall in love. It is the container ofwhat we call the subconscious. Recorder of memory,both in the present and past lives, Vivi is sometimeseferred to as the sticky one. It is animal like, shapedthe body and blends out into a silvery blue. Sometimes,when the Vivi gets a complex, it will split off and stealenergy. If this happens, Vivi will tell you false things,jority of the reasoning power and can direct it like thewind. It is the most pronounced and maintains thestrongest presence in our consciousness. Emi comprisesthe true aura, an oval or egg shape following the out-line of your body. Colors associated with an individualthat Emi. Upon death, Emi will scatter or dissipate andearrange itself upon rebirth. It continues the new ar-rangement throughout the current life. Ori is the Kami self, the Star that dwells at thetop of the aura. Ori is the self parent. It has the blue-print or template of what you personally are to be andmust do. W
8 hen your spine tingles, and your sexual
hen your spine tingles, and your sexual en-ergy is up, youve made contact with God Self.Before we humans were fully evolved in ourpresent form, there came a class of Gods which becameour Ori. After a long period of our evolution many an-cestral souls became our Godselves. This is the root ofafter our last incarnation. After a certain number of in-carnations above rather than in our body, the Ori goesback into Po, the region between the stars.The health and vitality of our Triple Soul isgreatly, but not entirely, due to our ability to draw mana.Mana is the term the Feri use for energy. There are manymanifestations of mana, as there are many manifesta-tions of light. Light is largely responsible for our per-ception of our surroundings.ithin the visible spectrum of light, are the col-ors red, orange, etc. These colors shape our visible worldand gives us a valuable way to access it. There are otherspectrums of light and they are deadly to humans. Forexa
9 mple the X-Ray spectrum, easily accessed
mple the X-Ray spectrum, easily accessed in ourcurrent technological era, is used with great caution andonly by qualified professionals.What is sometimes referred to as Blue Fire is butmanifestation of light. Handling the Blue Fire is a BlackArt. It must be handled with care and only by experi-enced sorcerers.There are many ways to draw mana. The mosttrum, is through food, light, movement, sex, sound,sleep and breath. Vivi stores mana by taking in one of your command. One method is no more effective thananother in this spectrum. They do vibrate on slightlydifferent levels, just as red vibrates differently than blue.More than one method can be used at one time. Buteven these methods can be abused. Many of us havehave not complained of being groggy with too 12 Like Myself Feri is the hunger in my belly,eri is a subversive faith. All may receive spiritualevelation directly from the highest spiritualsources. If everyone is their own authority, therec
10 an be no monopolistic religion/business
an be no monopolistic religion/business based onprivileged access or right to interpret the words of afew official prophets or holy books.The same could be said of art. The artist mayeceive theoretical or stylistic revelation if they have theset out on their own. Even in traditional academic train-must forget what they know. This is not meant toown personal discovery.hence responsibility. We must teach all who are willingto learn such techniques, both Art and Spirit, for in Ferione cannot exist without the other. The witchs con- physical world to act on or express information given.community. It is the community which is the source oftheir power. Our sense of power is defined by our ca-pacity to put it to use. The conventional artist attemptsand exhibiting it for others to merely observe, or to par-take of vicariously. For practitioners of sacred art, theArt, like magic, is a natural process, not separateor in any way special. Some say it is a
11 gift from theGods and so it is. But why
gift from theGods and so it is. But why suppose that the Gods arestingy with their gifts? From the dawn of our naturalconsciousness we see evidence of the human expres-sion of the divine. Witness the naturally sublime ren-the tribal power objects used for adornment. Theseworks of wonder were made at a time when there wereno distinctions between artist and self. Ancient won-ders of beauty were made by untrained practitioners ofart. The Gods are generous and the true gift is life itself.By the very fact that blood pulses through us, it is ournatural inclination to be gifted. It is our responsibilityThe creative act here on earth is a mimic play ofthe cosmic creative act, the Great Unfolding of the StarGoddess. The Feri shaman is born not through the moreing of our ego and concomitant return from death. Ourshamans are born from our direct identification withthe Star Goddess and Her creative principle. Thereinlies our power. Not in death, the swallowi
12 ng of ourindividuated ego, but in Her fi
ng of ourindividuated ego, but in Her first impulse. All the Artseveal our link with Cosmic Creative Power. The Feri The Goddess. And in Her love and in Her ecstasy, Sheeveals Herself through song, poetry, dance and color.Her divine breath washes over and drives through usand in this identification, we create. We divine the uni-This creative impulse is one of our sources ofmana, and creative endeavors activate this mana. It isat once the source and result of mana. Creative actionmerges into myth. The creative act is simultaneouslythe creative ground.All the arts are of the same source, God Herself.There are three phases of the moon, not three moons.There are three phases of the Goddess, they are thephases of God Herself. There is only one Self, made ofthree parts. Observe around to notice Nature workingin threes. There is the Light, the Dark and the Orderingof Light and Dark. It is through our Fey identificationwith the great Creatrix, the Star G
13 oddess, that we toobecome Creatrix. Go
oddess, that we toobecome Creatrix. God is Self, and Self is God, and Godis a person like Myself. The nation of Fey is the nationof creators.In Feri, a white wand witch is the bard of thecoven, the artist witch. They are our poets, ritualists,musicians, as well as the visual artists. Their work isto provide the coven with ritual guidance which in-of tools and icons, as well as spellcraft. White wandsare also gardeners, since this is the wand of blooming.beauty. They are those who inspire that reflex action,the sudden intake of breath.It can be difficult to describe the Fey and theirworkings. One can be a valued experienced priest, yetsomehow be unable to express in linear academic termstheir own ecstasy. Much like an artist, unable to fully explain their muse, their inspiration. How can you tellif a work is Fey? Primarily by reflex actions. Emi ori-not be completely discarded. (See appendix.) Fey workis not beautiful in the conventional se
14 nse. It can be bi-zarre or even ugly to
nse. It can be bi-zarre or even ugly to the uninitiated. The instantaneouseaction is most useful in determining if a work is Fey.Search deep within your body and learn to recognizethese reactions:sudden intake of breathstrong sexual urgerise or fall in temperatureThese are but a few of the most common reac-This exercise was given to me by Victor Ander-son and can be practiced by anyone, regardless of skillFind a magazine picture or photograph of some-thing you like. It can be a person, place or thing as longas it is something you truly like, something that truly photocopy. Also get some color drawing material thatwill easily go over the image. Oil pastels will write overmost glossy paper and is great for expressionistic stud-Breathe in slow but natural breaths. Do not attemptpranic breathing for this exercise. Clear your mind ofImagine you feel the presence of Vivi in your hara. Thehara is located about two or three fingers below yournavel. Vivi has
15 a lot of substance and should be rela-C
a lot of substance and should be rela-Continue to breathe naturally while contactingivi. Take time to engage and feed Vivi with the image.Gaze upon the picture and ask Vivi how it would likethis picture to be. Draw over the picture with what thesis or critique. You are drawing what the Vivi wantsand this may bear no relation whatsoever to the pic-ture. Take as long as it takes.When Vivi is satisfied, place this picture in somesecret spot for a few days, but no more than a week. Atthe end of this period, take the picture out and observeyour responses. That is, check your feelings, the clearestindication of power. Ask yourself, Is this work Fey?Allow Vivi to respond. 17 T gin to relax. Light from the fixture scatters across the ceiling,illuminating the lumps and bumps. Darkness sinks within thecracks and crevices. Slowly the darkness forms into varyinglines. The lines of darkness begin to shimmer with an unearthlylight. The light appear to mo
16 ve and shift, taking shape. Theshapes c
ve and shift, taking shape. Theshapes coalesce into things I dont quite understand. The shapesof darkness and light appear and disappear quickly, leaving meonly chance glances. Slowly my eyes begin to flutter and dragDeep Ones begin their circular dance of color. The color of neon,translucent, shimmering, pulsing, throbbing with sensual de-light. The pulsing photic animals jet away from me, trailingtentacles of light, swimming in a mass of star filled velvet. Deepwithin their bodies is a deep rich dark mandorlic central core.The mandorla lightens, brightens, and growing within are sepiatoned pulsing still pictures. Pictures of things, places and timesI know little of where they belong.place within a formal point of view. When artists speakin formal terms, they are discussing abstract theories,such as color, space, perspective, and their formal aca-demic relationship to each other. These theories alsoinclude proper technique.sage is in rendering th
17 e voice of the Gods. It is to makecont
e voice of the Gods. It is to makecontact with Her Divine Lust. In trance, we are wrappedin Her argent web. Dancing to the drumming of Herheart, we dream our ritual, the mother art. Like the Star Goddess, spinning out planets from Her core, fromcreate the world anew by creating a contem-penetrates the psyche. Such magic must be placed inthe here and now for it to be powerful, or even to beunderstood. This is how the Feri artist must stand, be-tween the worlds, the ancient and the contemporary.blend what we know with what we can dream.orking our magic to dream a new art, a new worldSuch experimentation is the groundwork of Feri art.Fear is the deadly enemy of Feri arts. There is asaying that Where there is fear, there is power. Yes,but only if you can forge ahead, in spite of fear, in spiteof ambition, in spite of Emi. Often fear only serves todampen power, to create a barrier to your Ori, elimi-nating all references to your authentic self. The a
18 rt be-comes hollow, derivative, safe. T
rt be-comes hollow, derivative, safe. To pass beyond fear ispower.Art as magic is an intervention in reality withthe aid of symbols. Although we use symbols, Feri artis neither representational nor symbolic, it is naturalis-tic. That is, it places into form the actual living entitywhether that be a deity or Their attributes. For the Godsare real, They are not merely symbols or imaginings.Abstraction, and therefore symbolism, is thenatural result of our vision. The Gods appear to us inthe guise They choose, much as a parent would appearand expectation. They put on Their party hats, if youwill. This in no way diminishes Their power or ourelationship to Them. These visions are actual occur-ences in Nature and are as real as we are. ditions, where one thing may stand in place of another.One thing actually is another. It is not arbitrarily basedon a system of beliefs. If it has not been directly ob-served in nature, it cannot be directly correspondent t
19 oa thing in Nature.The Iron Pentacle doe
oa thing in Nature.The Iron Pentacle does not repre-sent, Sex, Pride, Self, Power, Passion. It actually Pride, Self, Power, Passion.ally achieved by aligning your true authentic self, thatinner space where only honesty can prevail, to the StarGoddess. She is the Ori of our Ori. Style is a directesult of years of process.is one who can communicate power from that authen-ingly ugly.Feri art has a physical and powerful basis. It isin the prolonged sensual dance of the Star Goddess. Sheis complete within Herself, She needed no other to cre-ate. We sit upon Her throne, the lap of the Mother andsuckle at Her breast. Her lap is Her womb, the sourceof all being and knowing. And in this trance, we re-ceive Her blessings. Her cord binds us to Her creativecenter and it is through this cord that Her breath reachesus. From this ecstatic union come Her inspiration. 20 The Bardic Arts Cerridwen s Br Floating upon the deepest water,My voice is the echo of a
20 dream.My breasts are the eyes of life:Fr
dream.My breasts are the eyes of life:From My iris pour forth the stars.Now we are between the worlds.Drink the Brew and be healed.But will you walk the fire,alk the fire...eri bards are the priests of our ancient tradition,the warriors of our sacred Goddess. We wage ourons of song and deed. Vocal organs, ritual gestures, ourbodies moving in dance produce a flow of mana whichbecome magical acts. The mana emanates from withinby the dynamic movement of Vivi, sending it to Ori andithin ritual lie a direct and active link to theGoddess. It is the psychic center for consciousness, justas the altar is the physical center. Eroticism and play isits dominant theme. This is not art in any conventional sense. It is instead an energetic process providing ec-stasy and it is this ecstasy that binds the Feri tribe. Ritualis a structure within which you can be creative, eroticand spontaneous. It is the cauldron of the arts.Ritual is not theater but a dynamic sourc
21 e ofpower. There is no passive audience
e ofpower. There is no passive audience, all members ofthe ritual circle actively participate. The lending of manato a working is the primary motivation. Ritual is neveryou. That inclusiveness isextended to create and sustain mana in a dramatic andindissoluble way. In public ritual, the achievement ofshared meanings and shared emotions is the goal, notIn ancient cultures, during the sacred story tell-ing, the entire tribe literally transport themselves intothe story. Each individual lent their mana, by breath-ing, chanting, and drumming. By simply being a partof a circle, you help form the circle. Thereby in ritual allmust act with power, magical power. Each membermagically helps to create and sustain the ritual. RitualGods. It is the unfolding of the mystery of Nature, thecycle of life with all its glory and doom. The ritualpact. This is so primarily because we are trance. Repetition is vital to trance. One of the keys totranced. True tra
22 nce states are founded upon a pro-found
nce states are founded upon a pro-found state of relaxation, no matter how vigorous thehythm. It is the long (this often takes hours in manycultures) repetition of that rhythm that produces theelaxed state. One may jokingly say that the gatewayto trance is boredom. In other words, trance is initi-ated by first lulling Emi, through repetitive driving hythm, to favor Vivi and Ori.three souls straight within. The repetitive, rhythmichythms lead to these trance states by switching out ofa resistant channel, the Emi, to an unoccupied channel,the Vivi and Ori. This process has the power of magicalFor example, weaving can be considered ritual.Due to its repetitive nature, it lends itself to a medita-tive state of mind. Using the body in a repetitive mo-way around, creating a circle. Like a chant, a dance, ordrumming, basket weaving and its spiraling actionmakes quiet all aspects of Emi so that Vivi can beopened. As the body goes round and round one ente
23 rsthe trance state, filling Vivi with in
rsthe trance state, filling Vivi with intention. An accom-single breath. The basket itself becomes sacred space is the creation of sacred space. Ritual is unconventionaland subversive in that it does not rely on theatrical orinstitutional space. It is our power to choose our spacebased on its energy. Often this space is surprising andunusual. This space is set apart from the mundane, it isthe center of the web. Some say the sacred circle is aprotective device, but it is not so among us. Its primarypurpose is to act as a lens, a focal point for the energy work. Its protective properties are secondary, but use-When we are in sacred space we are in the bellyof the Goddess. Like a womb, a vessel, the sacred circleis a container. Within this container, this cauldron, theelements of ritual provide the impetus for transforma-tion. It is a place in which we may nourish our spirit.Like the womb it is a place for growth. The circle is theSacred space is
24 also the house of the Gods. It iswhere
also the house of the Gods. It iswhere They dwell, where They come to do Their work-ings. Within this circle you may call Them, and Theywill answer. Sacred space is a place of power and beauty,eflecting the mystery of the universe. The sacred spaceneed not be a monumental temple, a great power spotwithin the landscape, it could simply be the altar, a spiritjar, the human temple, or even a power object. Sacredspace is where the working takes place.The cultic ornaments, areas which are consideredespecially powerful, in the landscape are not treated asisolated artworks but are incorporated into spiritualactivities and rites as organic components of them.emples (permanent and temporary) are created inkeeping with the harmony of its surroundings. Mostwitches prefer to conduct our rites outdoors, but any Ritualists and shamans understand that the body,not the mind, is the locus of transformation. The bodyis the clearest, purest, most vital and honest expr
25 essionof self. It is that aspect of sel
essionof self. It is that aspect of self, the body, that changes before the mind or spirit change. Central to ritual is theawakening of Vivi, with your Emi, connecting to yourOri. In ritual, in this new heightened state of aware-ness, we embody and activate the Goddess. Ancientimages of power, of transformation, of harmony flowthrough us. Ritual is often able to awaken and stimu-late the participants body, to open us up to this newknowledge, to see and understand via the body. Webecome a mirror of Her Divine Self.In another telling of The Creation Myth, we speakof the Star Goddess looking into the curved mirror ofspace. There in Her reflection, She begins Her sexualplay, feeling Her body in the warm dark velvet of sen-sual ecstasy. From this union of Self to Self, from thisgreat passion, the worlds were born. This myth is cen-process as well as in fact. It is fromour creative powers. The swaying of the hips, snake-like, coiling movements recall t
26 he Star Goddess initialimpulse. It is
he Star Goddess initialimpulse. It is the human embodiment of Her sensualCreation.The body is the prima materia of ritual. Bodyart empowers us by affirming our bodies as instrumentsof communication, not alienation, with the Goddess. Aritual that doesnt run mana, that doesnt provide trans-of attention. Without communal interaction, withoutacting with power, the witch becomes the object, notthe subject. Rather than a ritualist, a communal facili-tator, we become instead a star, a thing separate fromthe community. If it does run mana, even within a the-our awareness. What is left is the power immanentDuende is a Spanish word often associated withFlamenco. It is not entirely translatable, but many take it to mean ghost possession. Duende is the passionof the Moorish Rom, their defiance and pain. The manaun by these musicians and dancers is evident. Thetling of Emi in favor of Vivi and Ori. Masters of thisform of passion run so much mana that
27 even a modernaudience is transported by
even a modernaudience is transported by it. Though not ritual in aligious sense, the audience nonetheless share this pas-Dance is more than a prayer, more than a play,dance is important magic. In this way ritual magic isused to create states of ecstasy, union with the Divine.eligious expression. This dance has efficacy when theritual is founded upon myth and implies a re-enactmentperformed. If the ritual follows the original action, ittaps into the accumulated energy of all prior actionsmove or bend this energy to the original action. Dance exist without the sound poem, that is music and poetry.This is the ground from which we move, the structureof ritual. Without the sound poem, there is no impetusfor movement, no body poetry. Therefore, it is the mu-sicians and poets within a coven who are given pre-eminent status. The priests who dance can only do sounder the power of meter.Music is the song of ecstasy. The heartbeat of the Star Goddess provides
28 the driving rhythm, Herbreath provides
the driving rhythm, Herbreath provides the rich dark melody. Through music,the Goddess whispers to us Her desires. Music is ato transport an entire coven to Her realms.poems are the concrete emanation of di-vine love. It is a love so deep the poet literally becomesHer sexual lover. As Victor Anderson says Every poemis a love letter to the Goddess. Poets are the divinersof Her lust. It is they who are most able to lift Her veil,the unfolding mystery of Her nature. This lust is thesource of all poetry, regardless of the form.The luminous often paradoxical nature of theGods is often difficult to describe without the use ofsound, the manifestation of Her breath. Music and po-etry are not inventions of art but the reception of divineinspiration and possession. The sound poet achievesthis through an intimate, orgasmic relationship with theGoddess, through the slow hand. The slow hand thatcaresses Her etheric body as it caresses our own physi-cal body
29 , climaxing in inspiration. Our bards a
, climaxing in inspiration. Our bards are thekeepers of this Divine mystery.Like Cerridwen nourishing Her magical brew,through rhythm and verse, our bards are charged withkeeping the magical lid upon the cauldron of power,the working. It is they who provide the trance map forthe shamans journey. It is the sound poets responsi-work the coven to ecstasy, as your lover, as your God-dess. This is what Feri witches mean when we speakof the cone of power. An experienced sound poet caneleasing the roiling steam. The experienced bard cannot only read where the shaman must go, but can alsoprovide the description of where they have been. Andit is this description, this retelling that forms the basis of our ritual and leaves us inspired to do more.Here is a body poem meditation that will raisemana through slow, repetitive, relatively easy, and yetfortable with it. Allow Emi to work it out so it does notinterfere.In your own manner, create a quiet safe spacean
30 d clear your mind of distractions. If y
d clear your mind of distractions. If you have thestrength available raise your arms in a Goddess pos-ture, either to the side or above your head. This maycause fatigue and result in pain. The object is to lullEmi, not activate it with worries concerning your body.begin the movement described above. Once you arethis God? I will know myself in all my parts. Con-Music can be an aid, if it is long enough. Short tunes, will undermine the process. Look for trancemusic that is at least 20 minutes long. If this is not avail- 29 Feri Hamsa. A play on Middle Eastern and American Folktradition. The shape of the hand is derived from the Hamsa,also known as the Hand of Fatima. The Black Heart of Inno-cence hearkens to the Heart in Hand motif found in NorthAmerica. Two snakes culminating in a sylized peacockfeather refer to the Divine Twins. Cowrie shells for the Nine-fold Muse. Earth, Air, Fire and Water are represented.tercolor and ink on paper. 30 dia
31 n Study. This guardian figure came to m
n Study. This guardian figure came to me whilemeditating on the Eastern Guardian in a self possessedtrance. Charcoal on paper. StarFinder . The finished drawing of StarFinder as I see Him.Notice the finished drawing differs little from the medita-tive study. Pastel on paper. 31 Feri ritualist The Painted Fan. The Painted Fan is a bardicdance troupe. Clockwise from the right: Willow Moon,Thorn Coyle and Anaar. Costuming adds glamour to the Cor ona. A hairstick is a simple device to draw down thePeacock Lord, emulating the corona of the peacock. Pea-cock eye and sword feathers, wood, copper. 32 Shining Flame. Spirit Jar, made in circle with the Andersons.In Feri, Spirit Jars have an opening to allow the loa to comeand go as they please. Through this jar, one may access the Daily meditation, for grounding and centering. This medi-tation is done without thought and with eyes closed. Thecircle is drawn in one sweeping motion. With a little prac- 3
32 3 Portrait of Anaar. Anaar is a Persia
3 Portrait of Anaar. Anaar is a Persian word for pomegranate.I chose this name to invoke fertile creativity within me.painted after I had chosen my name. While painting thisportrait, I meditated on my desire to be creative and fertilein my endeavors. I imagined myself bursting forth withmany seeds. It was then tattooed on my back, to seal thisspell I cast over myself. Ink and watercolor on paper. 34 Several leis for ritual and meditative use. From the top: Pa-gan Rose Wreath, glass and pewter, design by Cora Ander-son; Amber and jet mala, icon purchased from Nina De-signs; and Feri Decagram, pearl, hematite and silver. 35 surable, my brow is streaming with sweat. The heat and damp-ness weakens me, forcing my head to droop and jerk. I fightto stay alert, but the pressure of the environment keeps medrowsy.From a distance, rounding a corner, light from a ritualfire streams onto the ochre stained walls. Flickering lucentstrands illuminate the gross cur
33 ves of the Mother. Barelyable to percei
ves of the Mother. Barelyable to perceive my own breath, I am able to capture the el-egant shapes of life and magic drawn above me. Images ofraphy.freshly killed hide is lain over me, still bloody andsticky from the hunt. Between my legs, lie the Goddess hunt,bloody from the Moon and sticky with desire. In my sweatyslippery hands I hold this animals horn, given to me by mypriest, my new lover.From the distant source of light, I hear the voices ofthe other priests, their song urges me on. As their poemsing me. My body is heavy with the bloody hide, and I canbarely control the horn in my hands. Carefully I bring itupon me, piercing my womanhood.As the priests weave the rhythmic pattern of the song,the tempo begins to build the horn slips from my hand andpierces my thigh. I cry out in sorrow and anger, but the songof the priests only rises, urging me and my hunger.more complex. I hunch over myself and grip the horn withboth hands. I begin to gain
34 control over it, commanding it tointegr
control over it, commanding it tointegrate with the song. My hair clings to my face, my breath-ing becomes faster, shallow and I begin to sing. My voice rises to match my frenzy, meeting with thepriests own frenzy. The song is frenetic now, a rare screech-ing howl. I fight to keep it, to hold it for eternity. But in thatinstant with one final thrust of the horn, the howl of the priestsbrings my body to burst forth. Points of light explode frommy pleasure, spiraling away from me in rolling waves of heatand color.My breathing slows as awareness returns to me.Again I notice the pressure of heat and damp. As I comedown, I see the horn and rise it up to me. I find it is no longera horn, but a wand formed by my slow hand in the realm ofmagic, consecrated by my own holy body and the sacred natu-devotion is an act of religious observance orprayer. A devotional artist creates icons notfor religious prayer, but a prayer. Iconsmade by the devotional artist ar
35 e not merely com-mercial and decorative.
e not merely com-mercial and decorative. These icons, through magi-cal process, are imbued with the power of divinityand are meant to be used as tools of power. Feri art isa prayer, a direct communication with, and full par-ticipation in, the sacred realm.The Fey artist rebels against the current optictyrant. Our aims are not concerned with design prin-tion of the sacred and informing of the luminous na-ture of the divine. These arts are descriptive and aimhorns and a phallus regardless of the point of view.magical hunting ground of the ancient caves. Theground of the painting is the ground of the actualearth. What is painted on the walls of these cavesbecame a reality here on earth. Our ancient ances-tors painted arrows on the animal they meant to hunt, sometimes actually throwing spears on the image forgreater magical effect.In primal cultures art is never made for merelydecorative purposes, it is always utilitarian. Thebeauty of an object is deriv
36 ed directly from its valueas a thing to
ed directly from its valueas a thing to be used. Art was functional, servingeligious, social and practical purposes. It is insur-ance for a beautiful and prosperous life. Art is not aProduct in contemporary terms is of little conse-quence, save that the object created can be used as aculture has entirely forgotten in all aspects of our livesis the practicality and utility of magic. The Fey artistmake tools of magic. In these ancient caves, lie paint-ings of great wonder. Surely these were sites of an-cient ritual, powerful magic. That primary art, ritualand its accompanying arts, were magical acts con-ducted for the benefit and prosperity of the commu-nity. This magic had purpose; the continuation of lifethrough the Hunt, the continuation of spirit throughis rendered there for a magical purpose; a spell to re-lease, or in some cases, to hold power. If you placean image of self as wealthy, it is a spell that will even-tually become an actuality. I
37 t is not a decorative por-In todays Wes
t is not a decorative por-In todays Western culture, we have the oppo-site situation. Art is simply art for arts sake. Artwith any utilitarian value is labeled craft. By this la-rious effort. Art made for a purpose has been placed There is also a split between a primarily intel-lectual art making process and a primarily body ori-ented art making process. The latter (with some ex-Beuys) is relegated to the same cultural ghetto as craftand neglected. By the same token, craft, through itsdesire to be accepted into the mainstream, has by largemeasure given up its utilitarian value, and has ori-ented itself to mere design.tion with Nature, and magical insurance not only oflife, but of life worth living. Practitioners of magicpurpose is wasteful. Magic is always made towardsome purpose, to create a thing is to make change.is known as the strong eye. The strong eye is thesential nature. In peering into stone the strong eyemagician can see its eth
38 eric energy, pulsing andswaying with bea
eric energy, pulsing andswaying with beauty. The Fey artist will carve thatstone to accentuate its natural power. Rather thanral energy to increase its power. An artist, who is incomplete harmony with nature, can actually createwill into the art object. This is crucial to the Fey ar-tistic process. This object will hold that power, thewitchs will, within it. Meditate to create, and thecreation will become the meditation. The meditativeobject, idol, or mandala holds this power increasingdevotional idol, or mandala can hold a por- tion of the God it represents. It does not hold theis treated as that God. It is also a kind of psychicto that God. One may tune into that energy throughThere is a mana emanating from the naturalmaterial itself and mana can be transferred into thatmaterial by the witch who makes creative use of it. Amaster artist will precisely hone or refine that powerto a specificity. For example, lava is specific to tikisand tikis a
39 re specific to Polynesian deities. Each
re specific to Polynesian deities. Each ofthese deities are specific to a certain power and theirtraditional attributes. Likewise, wooden totem polesare specific to the deities (totems) of the nations ofimbue the devotional item completely, theinto the item. Then the part, that is the devotionalThe Gods respond to contact or communication,through ritual and prayer, with the devotional item.These rituals are many and varied according to thetraditions in which one practices. Most Feris useseveral idols and mandalas from many different tra-The Feri artist may make use of fetchers in thethe loa, ancestor or nature spirit. The artist will bringthe mana of a particular God under the control of thekeeper of the devotional item. The power of the loawill enter the idol or mandala, through the artistswill, and generate mana for the keeper. This devo-painting, a sculpture, the bones of an ancestor, or the many powerful and useful things. If neglected it may
40 wreak havoc upon its keeper. However,
wreak havoc upon its keeper. However, if the devo-tional items mana proves ineffective it may find it-self abandoned for one of greater power. Should anidol break, even small chips of that idol will continueto contain the mana of the greater part of the idol.I offer up this ritual for your understanding:brushFind a nice quiet contemplative place whereyou can settle yourself and raise power. Since youwill be painting, it is helpful to have a smooth sur-face before you. Light a candle in honor of the StarGoddess. Breathe in slow, natural breaths. Take afew moments to connect with your Vivi and Ori.State your creative intent to Ori and ask Vivi what itwould like. Using your favorite method, fill yourPlace a few drops of water in your grindingpalette. Take the ink stone and begin grinding intothe water on your palette. Concentrate the mana andhand, and into the inkstone. Bend your will and charge your mana to magically change, to transformContinue to
41 breathe in slow and naturalbreaths. Sl
breathe in slow and naturalbreaths. Slowly move the grinding stone, up andthe ink shimmer with power. Now pick up yourbrush. Feel the mana going into the brush as well.ake the time to allow this to happen, to fill the brushwith power. Be sensitive to any throbbing motion. Ifyou sense this, slow the movement of power.Continue to breathe in slow and naturalbreaths, continue to keep contact with Vivi and Ori.Dip the brush into the ink. As you see the brush ab-sorb ink, see also the mana from the ink being ab-sorbed into the mana in the brush. Now close yourtire arm, a circle. Bend the mana into the pattern of acircle. Release the mana within the ink and brushinto the paper by way of a circle. Again dip the brushthe center of the circle.Thank the Mother for the mana, thank the inkpalette and brush. Any throbbing motion is anindication of too much power being run too quickly.The object is to learn to control the power. It is impor-This is a visual
42 indicator of your center. 42 Breath in,
indicator of your center. 42 Breath in, see color,Breath out, take shape,dornment is the mirror of the authentic self,a reflection of our inner being. A person whowho wears T-shirts and jeans may be revealing an es-sentially practical being. Color, fabric, gems, all are re-flections of mood and being. Our choices are a revela-tion to others of our identification with the Gods. Aself possessed, a trendy person or one who dresses pri-marily for fashion is more susceptible to change.Having said that, there are times when one maywish to use a magical technique known as glamour.pearance. This is most often achieved through the useof charms and adornment. Glamour magic can be astume. Behind these charms and adornments must lieintent. The will to change your appearance for a spe-effects. For these things alone are just that, an effect.greater than they are, but can be used to downplay onesphysical appearance. For instance, if you find yourself in a tough
43 neighborhood, you may wish to make your
neighborhood, you may wish to make your-self appear tough and unapproachable, or perhaps in-visible. In a friendly crowd, you may wish to make your-self appear desirable and beautiful. Glamour is mostIt is not vanity which compels us to self beauty.It is the Black Heart of Innocence. Beauty is like a plantral inclination to reach for the bright shiny things in life.It is our natural disposition to reach for beauty. Selflove and respect compels us to self beauty.One of the greatest advances our ancient ances-tors made was the creation of personal adornment.from their predecessors. While there is small evidencethe coming of our direct ancestors, Cro-Magnon, thatwe notice an explosion of personal adornment. Thereis something inherently beautiful within our humanminds and we reach for this beauty as we reach for thehave learned from contemporary primal societies thata magical function. Take for example the mirrored cloth.If you are a natural beauty, peo
44 ple will naturally gazeupon you. This g
ple will naturally gazeupon you. This gaze can cause envy and be disruptive.The wearing of a mirrored cloth will deflect said envy.In fact, in many cultures, the use of a shiny object, eyemonly call the evil eye. The evil eye is the result of envyand one can be envious of us for many reasons.choose the elements for sacred adornment itis helpful to look to Nature. See how the material natu- rally acts and responds in the natural environment. Amirror is naturally inclined to reflect. It is natural touse it to reflect evil back upon the one who sends thisevil, whether it is sent consciously or not. To choose touse it to absorb energy is going against its natural in-clination. One may try, but it is tough going. It is mucheasier to use it in harmony with its actual nature. Pur-pose follows Nature.The body is a natural canvas and when treatedwith respect and love it is in perfect union with the Di-vine. The Feri body acts with the outer self to be in
45 harmony with the inner self. Feri pract
harmony with the inner self. Feri practitioners makefrequent use of Vivi to determine what one likes. Viviof beautiful things. If these sensual feelings are sent toOri one may create a state of harmony and physical iden-tification with the Gods. That is what one means by theterm charisma. A divine power, a type of mana gener-ated by the alignment of the three souls on the bodyue beauty depends of this reception of sensualenergy. Feri beauty is not dependent on current trendsbeauty. Nor do we hand our power to manufacturersof petty products. This may appear odd to the world atlarge. But within the nation of Feri, one look tells all.ourselves, with the dress of the Gods.look to the Gods for Their inspiration. Findwithin you. This is the charismatic beauty of a harmo-nious being. As the Gods wear certain raiment deter-mined by Their personality, so one in identification with There are many examples of sacred adornmentfrom many cultures. Masks,
46 ritual clothing, tattoos andother body
ritual clothing, tattoos andother body art are just the tip of the iceberg. The amountand diversity of these adornments are so numerous itis impossible to cover all aspects of sacred adornmentin this short book. Instead, let us focus on three specialadornments that may be of interest to the Feri ritualist;the crown, the veil and the girdle. The Cr Jack fell down and broke his crown.....The crown signifies our connection to the Ori viathe top of our head. The crown is a signal of divinepower and a mark of our own sovereignty. It has a rela-tionship to kingship and authority. Like the witchsconed cap, a crown describes our ability to raise certainpower and direct it according to our will. Placing acrown upon our head during a rite is to draw down thepower of the deity for whom the crown was made. Thewearer of a crown becomes godlike.in the form of a peacock. Peacocks have a fan shapedcrest on the head, forming a type of crown. It is a natu-ral fo
47 rmation and the crown we wear may be of
rmation and the crown we wear may be of naturalorigin. Who is this flower above me? The use of flow-ered wreaths for the top of the head is a sure sign of thedeity upon your head. In Rome there were manywreaths for various deities. There was a wreath of wheatfor Ceres, laurel for Apollo, and reeds for Pan.Here are a few suggestions for crowns for the Nimue: fragrant white flowers, fruit blossoms Mari: roses, evergreen foliagenna : rose hips, seed podsDivine Twins : peacock feathers, snakeskin, hornsThe Star Goddess is crowned in stars. The V The origin and use of the veil comes from CoraAnderson. Veils are a reminder to us that though wedont always see the Goddess, She is always presentamong us. It marks a boundary between the mundaneand mystery. Just as we speak of the veil of mysterydess can be pulled back to reveal that which we do notyet know.The wearing of the veil is to be like a cauldron.ithin the veil is mystery and power. When you
48 areplaced within the veil you are a bein
areplaced within the veil you are a being of great mysteryand power, not representative of power, but a conduitpower. When pulled back your mystery is revealed.then the great light of Herbeing is revealed. The pleasure of the veil belongs notcircle. They are the recipients of revelation.In Feri, veils are worn at specific times for spe-cific purposes. Here are the veils used in our rites andFor Flowering rites as in a wedding or menarche.For Croning rites and as an alternative to Anna.For ceremony as the Star Goddess or Anna.cepting initiation, but it is not necessary.All other colors are generally used in trance and ritual situations to protect the priest or to signal the end of gesting a pronouncement of the sexual nature of theGoddess. The movement of a womans walk, causingtention to our sacred sexual nature. It is meant to beprovocative.Many dancers use a fringe hip scarf with a down-ward pointing triangle. Sensual carvings in India markbeaut
49 iful girdles worn by the Devi Dasi, temp
iful girdles worn by the Devi Dasi, temple danc-ers. The addition of bells and tassels announces to allwho may see and hear them the presence of a fullysexual being. Twisting the fringe into a net may haveannounced a woman ready to harvest her sexuality.Any circular adornment may be considered agirdle. All the powers normally ascribed to the circleholds true for the girdle. The red cingulum is a com-mon adornment in many Craft traditions. It signifiesSome girdles may be worn around the neck,making it a power tool and may have protective prop-erties. There is a wealth of lore concerning leis and theirsymbolic meanings. Malas and rosaries are devotionalFor example amber and jet necklaces are the rosary ofthe Goddess. Malas are special adornments that act withpurpose and power.These adornments are most effective when made purpose into the object worn. They move beyond mereadornment and become sacred objects if the Fey artistHere are instructions for co
50 nstructing a specialtype of girdle, the
nstructing a specialtype of girdle, the metie belt. This lore was first pre-sented by Victor Anderson, and is slightly modifiedMeasure the length of your waist. Take a sturdyed cloth about 3.5 wide and add 1.5 to the length ofthe waist. Cotton or wool works best, silk is not recom-Using a half inch seam allowance sew aroundthe belt leaving an opening a few inches long. Stuff thebelt with sacred herbs of your choice. The choices maydepend on the loa the belt is dedicated to, or the pur-pose for which you may use the belt. Slip stitch theopening to hold in the herbs. Use your preferred methodWhile the belt is perfectly useful plain, feel freeto decorate it as the Gods will. You may even take thetime to embroider the cloth before sewing it. Anotheralternative is to hand sew natural objects, sacred to yourpurpose is to act as a spiritual protective device. Good 49 ne final word on Feri and the arts. That isthe nature of tradition vs. creativity.
51 Wheredoes one end and the other start?
Wheredoes one end and the other start? If we are tobase Feri entirely on individual creative interpretation,disregarding the practices of our elders, then there canbe no tradition. For the very definition of tradition isthe passing of custom from generation to generation.Repetition of rites and practices are inherent in tradi-dition and practices vary from coven to coven and indi-vidual to individual. Creative, spontaneous acts causechange. Feri students begin by mimicking their elders,but upon initiation a curious process occurs. They in-evitably bring their own creative impulse into the tra-dition thereby changing the tradition. Perhaps our closeidentification with the Star Goddess demands this. Forif She is the great initial creative impulse, and we arepossessed of Her, then perhaps it is our tradition to becreative, thereby creating change.The problem in Feri Tradition, is to balance thisgreat unyielding creative impulse with continuing tra-ditio
52 n. I believe this can be accomplished b
n. I believe this can be accomplished by beingacutely aware of the process and structure of creativity.It is in our internal creative shamanic process and inthe set structure of Feri ritual and mythology that wefind tradition. We are a dynamic nation, bound by theold ancient ways and inspired by ecstatic union withthe divine. It is a good bargain with the Gods, and Iued this process.Our material culture is a mirror reflection of ourspiritual nature. Antecedents to our culture may lookback upon our works and get a clear idea of the nature cal, sensual and yet steely nature. This work we do nowwill lay the ground for further investigations and ex-Though the Fey arts may differ in individualstyle, the common thread underlying all of them is theshamanic process. It is not so much what we create,but how we create them. Creation is our top value. Andour top value is revealed and evidenced not so muchis created, but in it is created. Next to cre-its revel
53 ation through divine sensual ecstasy.Thi
ation through divine sensual ecstasy.This vision is worth any price. Let none inter-fere with our sacred work. Though they ridicule, di-minish and even punish, keep the work going. It is ourlink to our ancestors, to the Star Goddess Herself. Con-tinue to keep our tradition, this vital tradition of sacredart and its central position in our worship. Pursue thiswith courage and a Black Heart. For the artist cannotlie, we can only reveal.Its never been clear to me which occurred first,my becoming an artist or an ecstatic. Though the knowl-edge of witchcraft as religion did not come to me earlyin life, I always knew that I was an artist. At age sevena dragonfly blew by me, and I experienced a profoundsense of awe. I was told by my Godself that I will al-ways sign my art with a dragonfly. My association ofence. I can never separate the two, they have becomemy personal Divine Twins.Much later I realized I was a witch and I shouldseek out other witche
54 s. Upon reading Drawing Downthe Moon, I
s. Upon reading Drawing Downthe Moon, I came across Adlers account of VictorAnderson. My mind in the area of the medula oblon-gata literally opened up a small space, a hole, ready tobe filled. It was then I realized that I was Feri, I could feel it in my body. I found a religion of art, an ecstaticNature. Making art is ecstasy, a deep love, a state of 52 interview with Victor Anderson 54 There are many beautiful tellings of this story, I electedto pass on the oral transmission I received from VictorFor the sake of clarity, the Feri terms will be usedthroughout the book. Victor said these terms are Feri,though they are derived from Africa.of Vivi. I dont know why, but it seems very easy forthe beginning student to locate the Vivi in their hara.term garnered from a lecture by Mark Levy atJohn F. Kennedy University on Nov. 17, 1993."One must observe Nature and build your beliefsaround that. Most people have a belief system and tryto force Nature int
55 o it!" Victor Anderson.echnical prowess
o it!" Victor Anderson.echnical prowess can be important in that it servesto bypass anxiety. If you no longer have to worry abouttechnique, you can focus on process. Having said that,the more technique one can master, the larger your vo-cabulary, the stronger your process. These are sacred mudras given to me in trance.Levy, The Javanese Puppet Play As A Model For Per-formance Art, pg. 3It should be pointed out that to merely lift out for-theft. Also it may not work, or even be dangerous duederpinnings. Some symbols or ritual gestures may betoo foreign. There needs to be a commitment to the un-are we willing to commit to these cultures? Are we willing to go as far as to speak their language? Whatcan we reclaim from the past? How much can we bor-ow without assaulting another culture? In this regard,it is extremely important that we proceed with caution.ith regard to ancient cultures, it is true that we maylearn much from them, but again a note of c
56 aution andespect is important here.11:ri
aution andespect is important here.11:ritual learned as a child and probably Buddhist in ori-Loa can be inherited, gained through a personalobsession with a deity, or a deity decides it has an affin-ity with you. In the latter case, you may find that theThe veil may interfere with possession, and protectyou from it. It will block access to your Ori and closethe fontanel area that is still sensitive psychically. Cre-ating an opening at the crown may prevent interference. 56 It is imperative for artists to receive good, wellthought out critique. It helps guide our hand. Critiquewill allow the artist to understand both their strengthsand weaknesses. It can point to new directions for us.just say I love it! if we really do, or Oh, thatsnice. if we dont. In the latter case, we are simply be-ing polite. But in the former case, we may not have theUnderstanding art is the key to enjoying art. And ifyou truly do not relate to a piece, then it is a servi
57 ce tothe artist to point out why.However
ce tothe artist to point out why.However, as stated we want to be polite. It isunderstood that an artist will spend a great deal of timeit is hurtful. A sincere and well thought out critique isnot painful to an artist, but much appreciated.Here are some guidelines for giving a good critique:First and foremost understand the artist and whattheir work is about. Once you dialogue with the artist,your appreciation of their work will often grow.The first few statements one can make should begenerally positive. Point out what elements are work-ing in the piece. Do you like the color? Or perhaps youare drawn to the symbology, or use of space. Take afew moments to really understand what is good in theif...... For example, What if there were more contrast between the two figures? I have trouble seeing the sec-ond figure. This approach is non-threatening to theartist and offers alternatives. It empowers the artist withBe careful in making comparisons wit
58 h other artists.Finally, offer encourage
h other artists.Finally, offer encouragement. Restate the elementsthat are working. Create a dialogue, involve the artistin the critique. Be open to changing your mind oncethe artist has stated their position. If a change of minddoes occur, tell them. 58 Interview with V as research for my Masters thesis in Arts and Conscious-ness. It remains intact, with no effort made to edit his1) What draws you to creative activity in the arts?The Arts are just shadows of your life. Its what youput into it. Its already there, but you express it. Yougrow into it.2) Why do you think others are not so drawn?Theyre mistaken in their ego. They try to make formwithout the life in it. They express a false ego in theirwork. People need to realize that they are art. Everyidea that is strong enough will seek a form.3) Under what special circumstances would you not beable to be creative?When you decide that all matter, form, is dead solidity.But its really energ
59 y and when you understand thatyou are fr
y and when you understand thatyou are free to be creative.4) How would you overcome that block?By meditation. Take a simple object and meditate- enterthe Mu state. A place of pure, clear consciousness. It isnot a no mind it isnt nothing. Nothing is thrown away.An atom of gold is still gold. Passion is energy, youhave to live life, before you can express it.5) How do you respond to those that feel that becauseyou are creative, you are somehow special; apart fromAll life must be respectful. We must all be respectful ofone another. You are special, but you do not have toseparate yourself from the universe to be special, you grow into it.6) What do you say to those who say "Oh, I could neverdraw, paint, write poetry, sing, etc.?Stop limiting yourself! There's no use arguing withthem. Just say "you dont say?" or "What are you afraid7) How do you show others that they too can be (are)ou cant show them beyond their limitations. If theyarent suit
60 ed for it, dont push. Just say "Go-Liv
ed for it, dont push. Just say "Go-Live!"8) Do you feel that you have made any sacrifices forou should not make sacrifices. If you feel the Godsand contribute to the Kami, it is joyful. But never harmyourself. The universe doesnt like to suffer. If you giveup too much for Art, you are making a mistake.9) How do you compare (relate) art making with reli-Realize that Art and Magic are two forms of the samething. Look at cave art, it is both a prayer and art. Arteally originates in Magic. Art is making pictures of10) Does Art heal?ictor Anderson (1917-2001) is a poet and sha-man. He is author of Thorns of the Bloodrose and isGrandmaster of the Feri Tradition. His work is knownthroughout the world and he has been very influential 60 Root and Eye. Often when in trance, I am urged to take uppen or pencil. I never have any idea of what I am about todraw. The results are often surprising and give me a spring-board to develop full scale drawings.