Dear Muggles,

mug·gle
ˈ/məɡəl/

noun

INFORMAL
  1. a person who is not conversant with a particular activity or skill.
  2. a person who lacks any sort of magical ability and was not born in a magical family.

An unfortunate incident tonight has inspired me to write this open letter to those of you who have perhaps never heard words like athame or widdershins and would have no idea what I mean when I say I’m “drawing down the moon,” “celebrating Mabon,” or “visiting my astral temple.” I have a lot of friends who I would say fall into the category of a muggle. When I say muggle, I mean people who don’t study or practice any form of occult studies, witchcraft, natural magic, etc. In other words, the majority of the people on this planet. I do not intend my use of it to sound derogatory in any way.

Tonight, at the conclusion of our Mabon (Autumn Eve) ritual, I packed up my ritual items and was within a few minutes of departing the space we had rented at the Unitarian Church for our rites. The ritual was lovely – several regulars and two guests who seemed to enjoy themselves. We celebrated the celestial balance that occurs on the equinox together. Another group was coming into the space after us, and they were quite anxious to set up their airpots of coffee and platters of lemon bars. A woman approached the center table, which had served as our main altar tonight, and decided the items there must be moved immediately. I was standing no further than 2′ from her, packing away the last of my items. She grabbed my ritual sword by the hilt with the intention of moving it, I think? I audibly gasped, quite loudly in fact and asked her to put it down immediately. I was absolutely mortified. No pagan or witch in their right mind would pick up someone’s ritual blade without express permission. Nor would most muggles with an above average level of common sense. She didn’t apologize.

slender-leaf-IIMy ritual sword, the Slender Leaf Blade, was handcrafted by the late Jody Samson. I purchased it in approximately 2010 and it will be my ritual sword for the rest of my time upon this Earth. It is perfect in every way imaginable. When I received it, I performed a ritual on a celestially auspicious occasion, in order to cleanse and purify it and bind its energy to mine. I dressed it with ritual oils (the hilt only – not the blade) and it has been used on some of the most important occasions in my life. It travelled with me to Yellowstone twice – once for my yoking ritual, and again this summer. I used it in my ordination ritual last Autumn. It told me its name, which I will never utter aloud to another human. It has been handled by very, very few humans since its creation.

Rev Charly-101

Ritually and magically, my sword represents the Air element, truth (it can be double-edged), and a conduit for intention and power. It is a symbol of strength, yang energy, and the willingness to defend and protect that which I hold sacred. Throughout the tarot, swords represent action, change, force, and freedom. On the rare occasion that I take it up in my hands, I am humbled by its shining surfaces, its weight, and its beauty. I feel honored to know its spirit and to share a connection with it. Perhaps you muggles are starting to understand why I was so upset to have my sword handled in such a callous manner tonight. I’m sure fellow heathens reading this are already feeling mortified on my behalf.

Now for a little bit deeper dive into the ways in which inanimate objects can become so closely connected to those of us who practice the arts magical.

To begin with, it is not true that the Gods dwell only in the Heavens, for all things are full of the Gods. – Iamblichus

“Iamblichus used the term “sunthemata” to describe theurgic tokens in the material world. These were items that bore some mark or characteristic of their divine nature. Sunthemata were said to be sown throughout nature by the Platonic Demiurge and served as reminders of the divine will and its connection to our lower level of reality… The sunthemata are physical manifestations of divine presence and will.” – excerpt from an article about theurgy on the Medieval Astrology website.

All of my ritual objects contain a spirit, an energy I work with everytime I perform ritual. I have spent years listening and working with these objects in order to learn their character and form a relationship with them. Once I have bonded with and adopted a physical item for ritual use, I prefer that others not handle it. There are exceptions, of course, but generally speaking the physical connection and handling of my ritual objects is exclusive to me in order to keep a clear and strong conduit of energy that is not complicated by others.

I am not sure how best to proceed now that my sword has been handled by someone in such a profane manner.  What have we become as a society such that we cannot slow down, look at what is before us, and decide whether it is appropriate to handle or touch things without first asking? Have we drifted that far from an appreciation and awareness of the sacred such that this would be the norm? Has our culture of instant gratification and selfishness enabled us to be so callous and inconsiderate? Does the average person operate under the assumption that they are entitled to take, handle, manipulate, and do whatever they wish with objects that are before them, even in a spiritual context?

I have rites, herbs, salts, and sacred water for purification which I will surely employ in an attempt to right this wrong. But somehow the knowledge that this sacred object has been violated is harder to dispel. The older woman with greyish red hair is now part of the story of my sword, and I am not sure why or what her role is in the tale. I suspect it is very minor and perhaps merely a reminder that physical objects, even sacred ritual objects, are impermanent and ephemeral. It is also a reminder that there are a large percentage of people in the world who have very little understanding of sacred objects, even in a church environment.

Muggles who made it this far – please do your pagan and otherwise spiritual friends a favor: Don’t touch their stuff. Ever. Not their statues, their ritual attire, their ritual objects, unless they give you explicit permission every time. Think of it as a consent situation: Ask. Every. Time.

 

What Performing Artists Want

I’ve been a performing artist for over 30 years. I started in musical theater and now I’m a Hoop Splitsprincipal performer in my own company The Cabiri. Bringing my own work to the stage is my primary focus as an artist, but being part of other artists’ work is an opportunity I take whenever possible. Over the years of performing as a model and circus artist for a variety of clients, I have found myself in some pretty incredible situations including: naked and covered in flour in a cold garage, mid-costume-change reveal in a liquor storage closet, and performing my classy, elegant fabric act to (surprise!) the most raunchy song lyrics I’ve ever heard. Yes, it’s happened.

Are you thinking about inviting an actor, dancer, aerialist, or musician to be part of your next video project, photo shoot, or performance? Want to know how to make it a rewarding experience for everyone? Here are a few tips from someone who’s been there, done that, and seen just about everything go wrong and right you can possibly imagine.

Communicate the Give and Take Honestly, and Often

Performers get it. Anyone who creates creative work gets it. There are limited resources and we all want the best possible outcome. But performers deserve to know what we’re getting into before it begins. Before asking performers to be part of your project, do your best to tell us very honestly and transparently:

  • The projected time commitment
  • The guaranteed compensation
  • Additional non-monetary compensation (e.g. credit in the final product, access to photos or footage, networking opportunities)
  • What you are expecting us to provide or do (our own costume? music? makeup?)
  • What you will be providing to us

Communicate often, expediently, and clearly with your performers should any of the above items change at any point in the process. Want to make your performers unhappy? Last minute schedule changes due to poor planning, reduction in our compensation, or asking us to do a lot more than what you asked are great ways to make that happen. (And we do all talk to each other so don’t assume your bad behavior towards one performer in your town won’t become news to everyone pretty quickly.)

Think Ahead, Plan Ahead, Be Organized and Prepared

Take some time before your performer shows up to the gig to talk to them about what they will need day-of. What kind of space do they need to get dressed, do their makeup, and warm up? Is it warm and well-lighted, with drinking water and light snacks easily accessible? Are there regular breaks scheduled? Do you have an adequate physical space for them to do what they need to do? How’s the floor for your dancer’s feet? Does your cellist need a chair or a stool? Has your aerialist gotten the information they need to safely rig their equipment? Will the performance or filming area be consistently the right temperature for their bodies? If you can’t provide what they need, tell them well in advance and do your best to offer an alternative.

The production schedule can also make or break your event. Performers are amazing people, but we are also human beings who need food and breaks and down time. Most of us can’t do our thing for hours and hours on end; our performance quality will decline at some point. Are you sure you need your aerialists on set for 12 hours? They certainly aren’t going to be able to dangle for that amount of time. (And no, sitting in an aerial hoop for an hour is not comfortable.) Managing your performers’ time as efficiently as possible will keep everyone happier and your project will shine as a result. Grumpy performers just don’t have the same glow as happy ones.

Give Credit, Shoutouts, and Appreciation Generously

There is nothing quite like spending hours and hours, blood, sweat, and tears as a guest in someone’s project. It is a labor of love, sacrifice, and effort no matter how much or how little anyone is being compensated. Those people onstage who can do incredible things with their bodies push themselves so hard for you, risking injury, moving rapidly toward fatigue and frustration, are giving it their all to help you realize your vision.

We appreciate the snacks, the water, the nice dressing and warmup area, and the stipend you offer us for our time. Very much. But if we’ve got a major role in your project, we also want to know that we are part of the art in your eyes, not just animated scenery to be used an discarded after the project wraps. We love it when you mention our company or our name. We love being listed in the credits. We love it when you tag our social media page or our web site. We love it when you include us every time you write or post about the project. It makes us feel included, valued, and part of the creative process – because we are. You wouldn’t be able to realize your creative vision without us, and a little thoughtfulness and respect for our hard work goes a long way.

Be Respectful

Most female performers don’t want to be called “girls” or “ladies” by the crew. We also don’t want to see you or any of your crew handling, playing with, or otherwise touching our props, aerial equipment, or instruments in a casual manner. These things are not toys – they are our livelihood, symbols of the craft we have spent years and invested so many resources honing. We need a private space to dress and undress. We should not be chastised because we need a clean, warm, space to warm up. A dirty bar storage closet accessible by everyone in the venue is not a green room. We want our time and energy to be respected by everyone involved with the project. Don’t ask us to show up four hours before you actually need us.

If you can mostly avoid these pitfalls, you’ll have performers on your project who are inspired, happy, healthy, energized, and willing to whatever they can to make it a success. And they’ll likely say yes next time you need them. Remember – you can be an advocate for the artists AND your project. They are not mutually exclusive.

Want to add anything to this? Leave a comment or get in touch with me.

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