So there was this one time, when I was fleeing down a dark path with two friends. More specifically, we were running from a burial mound where we’d been since before sunset. One of my friends was experienced in the occult and the other, not so much. I was probably somewhere in between at that point. It was dark and it was scary, and the sound of footfalls following us on the path behind us as we moved was nothing short of unnerving.
Or at least it would have been had I not already crossed from ‘terrified’ into ‘pissed off’.
We made our way as carefully and as fast as we could down this old rocky path, trying to get to the car parked at the road, my terrified friend’s arm interlinked with mine as she talked about how she’d never experienced anything like that before and how it had been a wakeup call for her.
It had started off well, we’d arrived before the sun went down and made offerings before heading inside the mound. Carefully lighting tealights in places where they wouldn’t cause any scorchmarks or other damage, we made our offering of ‘silver’ to Weyland as is customary at that site, and got down to work. We tranced and we called, sung invocations and drummed, we enticed, and eventually the spirits paid attention.
There’s that adage that a person should be careful what they wish for, and that’s usually the kind of response this story gets. Usually from the kind of people who’ve never done anything that didn’t involve pushing back the sofa and doing whatever they do. But let’s face it, if we weren’t the kinds of people to wish for *more*, then we probably wouldn’t be doing witchcraft in the first place.
To cut a long story short, things got dangerous in every way imaginable, and I really wasn’t up for being stuck in a burial mound with a half-possessed person sitting blocking the doorway and everything shifting. You see, there comes a point in a mound sitting, at least in my experience, when everything shifts, when you’re not longer in a burial mound per se, but you are definitely ‘on their turf’. I mean, it’s their turf anyway, but it’s kind of like the difference between visiting the embassy of a country and being in that country.
So we ended up fleeing as fast as we could down a rocky path without breaking any bones until we reached the car and it became clear that the troublesome one from the mound had no intention of not following us. One friend was thrown back as he tried to put stang mark in dirt, and my other friend – the scared one – lacked the level of conviction at that point to make any magic work, let alone the kind needed on the hoof against something not-so-friendly. Her faith had simply been shaken too badly by what had happened. There was a time when she would have probably shared that meme about exorcism via banging pans and telling things to fuck off that goes around Facebook, but now she knows better.
You see, when you get out there, when you leave the comfort of your home and go to places that are dark and old and maybe even inhabited by the Unseen, you tend to come across things that are really not impressed by someone banging pans and yelling “Fuck off!”
In the end, it was my anger that put an end to it following us, that beat of adrenaline and high emotion channeled that so often makes for effective witchcraft.
Whenever I tell this story, I tend to get a number of reactions – most of them about ‘safety’ and comments of ‘ineptitude’ by people who have quite frankly never been there or to anywhere like there. You see, modern witchcraft has an issue – well, it has several – but one of the greatest is that so much emphasis has been put on making it ‘safe’ that many are simply not recognizing the usefulness of fear to a witch, or indeed, what a great teacher it is.
There are dangers that can and should be mitigated when going abroad into the dark and in search of the hidden. Practical measures such as letting someone know where you’re going and how long you should be, having some form of self-defense at your disposal, packing for the elements, carrying adequate survival supplies and a phone – these are all good things.
As is carrying things like salt, hagstones, iron (if your stang isn’t already ‘shod’), and offerings of appeasement. Knowing how to use these things and employ other forms of magical protection is a must, as is knowing the etiquette of dealing with the Other in your area – folk tales are how you learn this.
There are things you can and should mitigate, but witchcraft will never be, nor never should be ‘safe’, and nor should we seek to make it so.
Witchcraft is also not glamorous and sanitized, it’s pissing into bottles full of nails and glass and accidentally getting some on your fingers; it’s blood and bone, it’s using things you’ve come across (or that have come across you); it’s making deals with things you’d damn well better keep an eye on and have a backup plan for; it’s often the mother of cuts and scrapes earned during pitch black hikes with entheogens pumping through your system; it’s not mass-produced and packaged for convenience.
It’s not bland.
I don’t know when ‘fear’ became considered a bad thing in witchcraft, or when danger became considered a failing rather than one of the ‘occupational hazards’ of the witch, but I think it has been very much to the detriment of the Craft.
Some of the greatest lessons I’ve learned have been when my back has been to the wall and I’ve swallowed down the fear and worked with the kind of desperation that you never get when dealing with the ‘safe’. At the mound, I learned to change that fear into white-hot rage to work against something dangerous – something which has saved my ass numerous times since. At the mound, my friend learned that things weren’t as safe as she’d previously believed and that magic is much more than simply saying words and performing actions. Those are some very deep lessons, and lessons that none of us would have learned had we not gone out there into the night and in search of the potentially dangerous.
Fear can be a teacher, it’s not something to be avoided but a test to pass. Sometimes passing that test is getting away hale and whole and having a new tool in your skillset for the future. Other times, passing that test leads you to some of the greatest highs of your life.
But you cannot pass if you never sit the test, and you can never sit the test unless you leave the safe and sanitized behind.
When I was a little girl, I was the kind of girl that learned more from her father than her mother. Although my mother did try to teach me to knit and sew, I had no interest whatsoever. I devalued fiber arts, I didn’t understand what they were, I looked down on them. In my nascent feminism, Germaine Greer’s words were ever in mind, “Women have frittered their lives away stitching things for which there is no demand.” In those early years, my interest was always in being outside, in travelling, being out in the wilds, and well basically being some feral little savage that wandered the moors like Ibn Fadlan’s proverbial swamp donkey.
I would learn the value and sacredity of fiber arts later in life.
Fiber Arts and the Sacred
My first fiber art was embroidery, which I came to after finding my grandmother’s silks and hoop in the attic. For days, I’d heard the intermittent song of a music box. Trying to track it down, I turned my room upside down, but found nothing with the same tune. Eventually I decided to go into the attic and look there. Finally I found a box containing a music box, my grandmother’s silks, and her hoop. The song from the music box matched the song I’d been hearing. I never seemed to need teaching, my mother never embroidered or cross stitched, but it was easy to me. My first use of fiber arts for the sacred was embroidered pieces dedicated to deities, magical house protections incorporating the ALU charm, and shrines that could be folded away.
The next fiber art was knitting, which I came to reticently – at least initially, but ended up teaching myself via YouTube videos and copying a woman on the train when I lived in Germany.
While in Germany, it was our habit that I would find local folktales, translate them, and then we’d visit the place. This hobby rendered some interesting finds, including a place that folklore held to have been a cultic place of Wodan’s, an amazing site called Druidenhain, and eventually, Frau Holle. Around the same time, I developed an interest in spinning, and this pull to Frau Holle and spinning developed hand in hand. Over time, and through research, I found that aside from my UPG, that bone-deep certainty that Frau Holle is far far older than her medieval tales, that there was also a lot of very solid and thorough scholarship that supports this in the form of Erika Timm’s ‘Frau Holle, Frau Percht, und verwandte Gestalten‘. Through her in-depth study, Timm presents her theory that names like ‘Frau Holle’, ‘Frau Gode/Wode’, and ‘Frau Herke’ were regional ‘taboo names’ for the survival form of a far older goddess – the Germanic Frija – a spinning goddess, and whose functions,as Lotte Motz shows in her paper, ‘Nerthus: A New Approach‘, match those of the ‘Terra Mater’ of Tacitus’s description in his Germania.
Well, with the exception of the human sacrifice, but you know, times change…
Spinning to me, was now a sacred act. I learned about spinning taboos, and instituted some of my own to better understand what a taboo can be. I became a devotee of the ‘spinning goddess’, and over time, not only did I come to wear a symbol of her, and her image on my skin, but her connection (and by extension the connection of spinning) to Seiðr and prophecy.
Fiber Arts and Ancestry
Before I continue, and talk more about each of the different skills I practice in depth, I would like to talk a little about ancestry and the role of fiber arts in ancestral practice. When I work these traditional skills, my knitting, spinning, or even crochet, these skills from the ‘spindle side’ (and old term for the woman’s side of a family, usually denoting the women of a family line), several things are going on, at least for me. People belittle these skills, and consider them the domain of someone like Martha Stewart. I find this kind of insulting because, in my opinion, Martha Stewart is an ex-con that’s making money off these traditional arts by repackaging them in nice plastic simplicity and lifting them from all tradition and heritage. And while the argument exists that she’s potentially bringing new blood into old crafts, the new blood she’s bringing in is being introduced by the corporate mass-packaged version of what should be individual, heartfelt, and bespoke. It’s things like Martha Stewart, with her cookie-cutter versions of ‘creativity’ that leads to people seeing these arts as being mundane and producing the kind of ‘things for which there is no demand’ that Germaine Greer spoke of.
I realise that these are very strong opinions, and it’s not my wish to offend. In some ways, I’m impressed that Martha Stewart has managed to turn such a profit on crafts that are usually not particularly lucrative – at least not for the average stitcher.
However, aside from Martha and her cookie cutters, I find this form of belittling – especially by people that are supposed to grok the sacred and magical to be very short sighted and mundane in of itself.
If you just take a moment to think about what these fiber arts represent, the histories of things like the various traditional patterns (that even made it possible to identify the village or even family of the wearer), the various techniques employed, and how they related to the lives of the people that employed them, there’s something very tribal there. For example, the Fair Isle technique, as well as being colourful and providing a way to show local identity through specific patterns, also allows the knitter to layer numerous strands of wool upon each other in one garment, thus providing a far warmer garment. If you take into account the further consideration that wool garments can still provide warmth while wet (to a point), then it makes absolute sense that Fair Isle would be a part of the culture of northern fishing villages.
In these arts, there’s tradition, ancestry, there are wishes and intent, there’s knowing where you’re from and who you
are; there are stories, there are layers there. Every stitch you make, every length of yarn you spin, you are connecting with generations of women before you who, although you do this for pleasure, did this out of necessity. This is a way to connect with and honour ancestors.
Better still when you have something of theirs that remains unfinished or can be incorporated into something you’re making. That is when heirlooms are born, their stitches and intent nestling with your own, and joining those of your descendants.
Fiber, Magic, and Prophecy
Historically, and perhaps due to what I would call the ‘operative’ nature of Germanic magic (repeated actions carried out over time, integrated as part of daily function seem to have been preferred), the two main fiber arts connected with magic were, unsurprisingly, spinning and weaving.
The most famous examples of fiber magic are those of the raven banner, typically a banner woven by the mother or sister of the warrior in question, that was said to guarantee victory to the warband that carried it. The price of this victory being the death of the banner bearer (Orkneyinga saga, ch. 6, 11, 14, 17; Njáls saga, ch. 157).
Another famous example of weaving in magic is the killing shirt of the Orkney saga, which was a shirt woven with the intent of killing the wearer. This was a Seidr that was again, worked by women, and in the case of the killing shirt of the Orkney saga, was created by Helga and her sister Frakkok, who intended it for the Earl’s brother. However, the Earl himself found it and wanted it:
“..the sisters pulled off their bonnets, tore their hair and said that if he put on the garment his life would be at risk. Though they were both in tears he didn’t let that stop him, but no sooner was the garment upon his back than his flesh started to quiver and he began to suffer terrible agony. He had to go to bed and not long after that he died. “ —Orkneyinga saga, ch. 55
I can think of no examples of woven magic which do not include some kind of blood shed, or blood price. Like other forms of magic, the practice continued after conversion:
“Have you been present at or consented to the vanities which women practice in their woollen work, in their weaving, who when they begin their weaving hope to be able to bring it about that with incantations and with their actions that the threads of the warp and the woof become so intertwined that unless someone makes use of these other diabolical counter-incantations, he will perish totally? If you have been present or consented, you must do penance for thirty days on bread and water.”
-Corrector Burchard of Worms, ca. 1010
Spinning magic however, was more of a magic of creation and attraction, with archaeological evidence demonstrating a link between some of the various Seidr staffs found among grave goods, and medieval distaffs (Heide 2006, Enright 1996; 245). However, these distaff-like-staffs were usually made out of metal, which rendered them cumbersome and impractical for actual use. Many of these staffs have strong points of similarity with the staff described in Eirik the Red’s Saga (Price 2002). Metallurgical analysis has shown that many of these staffs were forged with the inclusion of organic matter, mostly bones of the dead, or of animals (Gardela 2009). Post mortem, these staffs were often symbolically killed, by means of being pressed by a rock – in this, they often shared the same fate as their owners (in a number of cases, the bodies of suspected Seidrworkers were crushed post-mortem by rocks). In numerous accounts in lore, the spindle, distaff, and act of spinning are linked to Seidr, such as the following:
* In Laxdoela saga, the Seidr which causes a storm that sinks a boat is called ‘harðsnúin frœði’, or ‘hardtwisted knowledge/sorcery’, suggesting a link between storms that are spun. * In Fóstbrœðra saga, a man is made invulnerable by a type of Seidr that involved working a kind of magic while spinning hanks of yarn that were then placed under the man’s clothes. * There are two accounts of spun magic used to create invisibility.
There are many more accounts that link spinning with Seidr, and I cannot recommend this paper highly enough for a far more in-depth examination of the link between Seidr, Gandr, and spinning.
It’s also worth mentioning that the spindle remained the symbol of witch or wise woman in German folklore, and witches continued to be depicted with distaffs (which conceivably had some crossover with brooms).
As the spindle and distaff was often the status symbol of the witch, or at least that which set her out in society as a witch in much the same way as the warrior his weapons, the same can be said for the tools of weaving too. Bracteates from the Fuerstenberg-B series that depict goddesses carrying spindles and weaving swords, are reminiscent of Fedhelm – the prophetess from the Táin Bó Cúailnge – whose symbol of status – whose *staff* was an ornate weaver’s beam. Fedhelm identified herself as banfhili (female poet), but is addressed as banfháith (prophetess) by queen Medb.
It’s interesting to note here that Fedelm regarded herself as a woman ‘fili’, or…roughly, a type of Irish poet that
originally prophecized and spoke her prophecies in poetry. Purportedly the fili composed their poems in the dark, or in other words, while ‘under the cover’ of darkness. This goes back to a wider theme of going under the cloak in order to speak prophecies (often in poetry) as found in Icelandic literature (Aðalsteinsson 1999).
While this is by no means an exhaustive blog post, I hope that the connection between magic and fiber arts is at least made clear. So much magic can be worked into fiber. Each stitch can be worked with intent, protective symbols can be worked in Fair Isle or stranded knitted pieces – a pair of mittens can become a prayer that is worn. The numerical patterns of lace can be an invocation or protection, in a shawl that’s worn while practicing Seidr, or as a way to ‘go under the cloak’. A thought form can be spun and put to rest as easily as burning a skein of yarn, and the lowly distaff may function equally well in the creation of a Gandus or as a holder for unspun roving.