Category Archives: Aleister Crowley

The Collective as the Guru: How Shared Wisdom Redefines Learning and Growth

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In a world that often celebrates the power of individualism, there’s a quiet force reshaping the way we seek knowledge and guidance: collective wisdom. Just as ecosystems flourish through the harmony of diverse species, communities thrive when people share their experiences and insights. Each voice, like a note in a symphony, adds depth and resonance, creating a melody of wisdom far richer than any solo performance.

Consider how ideas come alive in collaboration spaces—whether in brainstorming sessions, online forums, or community gatherings. These interactions reveal a treasure trove of wisdom where perspectives don’t merely align but inspire new ways of thinking. Here, the collective becomes a living library of experience, offering lessons and insights that no single “guru” could provide alone.

This dynamic challenges us to rethink what it means to learn and grow. It invites us to step into both the roles of teacher and student, sharing our journeys and supporting each other in an environment that values every voice. In this dance of shared understanding, we find the true essence of mastery—not in isolated enlightenment but through the rich, interconnected exploration of life’s path.

‘The Collective is the Guru’ is a series of essays created for the Amookos group, exploring the evolving concept of the guru and collective wisdom. Each essay will spotlight a different teacher who has shaped and inspired the group.

One of the teachers who has greatly influenced my journey is John Power Power, also known as Sri Vilasanath.

John Power bridges Eastern and Western esoteric traditions, blending tantra, surrealism, and introspective art. As head of the Uttara Kaula Fellowship, he promotes mental liberation through creative enjoyment, drawing on his roots in both tantric spirituality and countercultural movements like the 1960s Gandalf’s Garden magazine. His work spans various media, including exhibitions and books that explore symbolism, mysticism, and the divine feminine. Power’s teachings invite us to embrace a path of mystical insight and personal freedom. 

To better understand the origins and development of the Uttara Kaula tantric tradition’s revival, I reached out to John Power, also known as Sri Vilasanath, the leader of the Uttara Kaula Fellowship. He has been instrumental in bringing this North Indian spiritual lineage into a modern East-West context, shaping it as a bridge between traditional tantra and Western spirituality. In this interview, Power shares insights on how the fellowship was adapted for contemporary seekers worldwide. 

I’ve asked John to share his journey into spirituality and esoteric studies, detailing how it led him to explore Tantra and Shaktism.

Here’s what he had to say:

“I would like to begin by noting that the development of an Indian tradition like Uttarakaula to include international exponents could only have emerged from the mid-1960s era known as Psychedelia. Some viewed this period as colourful and socially liberating, while others took the mind-expanding implications of the era’s name more seriously. I fall into the latter category, having been interested in philosophy and psychology since my school days.

After school, I attended art school, but after a year, I decided to drop out. I realised I had made the mistake of studying commercial art, which I found served the purpose of persuading people to spend money they didn’t have on things they didn’t need. Instead, I chose to take my portfolio of psychedelic drawings to the emerging alternative magazine offices in ‘Swinging London.’ 

While visiting a traditional studio where a friend worked, she introduced me to a magazine called “Gandalf’s Garden,” subtitled “The Mystical Scene Magazine.” J.R.R. Tolkien’s works have become widely popular, often associated with children’s fantasy adventures, which appealed to the hippies of that era. However, the magazine that borrowed the name of a Tolkien character contained serious articles more aligned with its subtitle, “Mystical Scene Magazine.” This set it apart from other counterculture magazines emerging at the time, as it was less politically focused.

When editor Muz Murray saw the drawings, he was pleased with what he found. As a result, my then-wife Chris and I moved to a crash pad/office in Ladbroke Grove, West London, where I worked on magazine layout and illustration. As the flat became too crowded, Chris and I relocated to the Garden Shoppe and wholefood café at the far end of Kings Road in Chelsea, where we slept in the cellar. During the day, Chris worked in the shop, while I cycled back to the office to continue working on the magazine. On Friday nights, the cellar was transformed into a Moot, hosting various Indian yogis, occasional yoginis, Druids, and anyone with an interesting agenda that Muz knew. The room would fill with young hippies and other interested parties eager to listen and contribute.

The only compensation for our work was food and shelter. Our financial support came from the DHSS. Eventually, I had to take a job with a friend from my art school days in Colchester, where he was operating a silk screen printing studio. Chris found a job in a boutique. Despite our busy schedules, we maintained contact with the Gardeners.

A friend named Sam worked on a farm, and during the winter when there was less work, he would often travel abroad, usually to India. While there, he met an Englishman named Nik Douglas, who had recently written a book titled “Tantra Yoga,” as well as other works on the subject later on. This was the first book I read about ‘Tantra’ and its connection to Indian mysticism.

When Nik was in London with his partner and their young child, we visited them a few times after they converted an old warehouse into a home. On one occasion, Nik showed us a film he had made to visually document the concepts presented in his book; this film can still be found on YouTube. It was funded by Mick Jagger, and interestingly, the Rolling Stones’ logo features a depiction of Kali’s tongue!

Sam also brought back clothes, trinkets, and reading materials from India. Among the reading materials was a magazine edited by an ex-pat Scotsman named John Spiers, who lived in Kerala, South India. The magazine focused on various mystical philosophies. It featured articles by another expatriate from England, Mahendranath, known as Dadaji to his followers in Gujarat, which is further north in India. I began a correspondence with both men.

Dadaji had previously published two articles in Nik Douglas’ magazine, ‘Chakra,’ before the publication of ‘Values.’ He was also the same person who later invited Mike Magee to his hermitage in Gujarat and initiated him into the Adi Nath Sampradaya. This invitation followed their exchange of magazines through a small press exchange, during which Dadaji discovered that Mike was involved in the OTO, although it was not the same OTO Dadaji had known during his time in England. Nonetheless, he encouraged Mike to start the East-West magical group known as AMOOKOS. Dadaji advised me to contact Mike, so I did, and I met him and Jan in Golders Green, North London. We discussed how to implement Dadaji’s planned ideas for his legacy.

Mike was well-connected because he publicised the magazine ‘Sothis’. When Dadaji’s essays began arriving in large numbers, it was mainly Mike’s responsibility to start publishing them. He left Kenneth Grant’s Typhonian OTO to dedicate more time to Nath Publishing. Later, he wrote the grade papers for AMOOKOS and also contributed to a smaller magazine called ‘Azoth’, which focused on similar topics. Meanwhile, I worked on another small magazine known as ‘Phoenix’.

Mike’s friends in England and the U.S. soon reprinted the essays or began to write texts inspired by them. However, there were early signs that Dadaji’s health and memory were declining due to his age, although he had not admitted any problems to anyone. This led to confusion and issues, as one person would work on a task Dadaji had assigned, only for another to discover a different and contradictory plan. An example of this occurred when Mike compiled the grade papers into a book later titled “Tantra Magick.” Dadaji claimed he hadn’t approved the book, yet he had received rough drafts that he likely hadn’t read.

At one point, when similar issues had arisen, Dadaji surprised me on my 30th birthday by presenting me with a charter to establish a Western, East-West form of a Shakta-centered Tantric group based on the Uttarakaula lineage that Pagalababa of Ranchi, India, had bequeathed to Dadaji. If this was intended to annoy Mike, it certainly succeeded!

Another elder figure who received one of Dadaji’s grand titles was Dr. Sandy Maclennan, a Scottish psychiatrist. He had worked at Broadmoor Hospital for the criminally insane before retiring to become a general practitioner in Inverness, Scotland. Dadaji dubbed him “Margrave Superia” to “keep an eye on the younger members of the emerging group.” This may have seemed like another attempt to undermine Mike. For a time, things developed quietly, with Sandy and me publishing the first essays on Uttarakaula: Dadaji’s mini Tantras. These were later included in “Nu Tantras” alongside paintings of his chosen Mahavidyas, the Wisdom Goddesses, which represent aspects of the Kaula path and also reflect facets of our consciousness. The early versions of these works were soon integrated into general collections.

Dadaji decided to return to England for several weeks and stayed with other family members who owned land in India, where he had his hermitage. During this time, I had the opportunity to meet him several times in person. One notable occasion was the Guru Purnima gathering, an annual event dedicated to honouring spiritual teachers, which was organized at the house where Dadaji was staying. The event went well.

During the following Guru Purnima, which fell on a summer weekend in Suffolk, several American guests attended. However, Mike returned to London for some reason. While he was away, one of his Nath girls zipped her sleeping bag to mine, and one of the Americans requested initiation into the Uttarakaula tradition. When Mike found out, he reported to Dadaji that I had been stealing his Nath pupils. At one point, Dadaji mentioned that he would like to see the Naths and Uttaras amalgamate; however, he was technically not in a position to formalize this and soon forgot about it anyway.

Dadaji’s next letter to Mike was supposed to include the wonderfully papal expression that I was “excommunicated.” However, after receiving two letters from Sandy and myself, Dadaji began urging me to “stay involved.” I expressed my frustration with the constant squabbling among people who couldn’t rely on his true intentions. Instead, I decided to work with a small local group to focus on researching just one tradition. I continued to keep in touch with Dadaji through Sandy, who consulted him for medical information. Sandy remarked that Dadaji’s brain was like Swiss cheese, full of holes and that those holes were filled with approximations of memories.

I later learned from Muz Murry, who shared letters exchanged between them, that Dadaji was aware of his condition. Indian doctors had informed him that he suffered from a degenerative disease called cervical spondylosis. Muz mentioned that, towards the end, Dadaji could only write in capital letters. Completing a single letter could take him three days, and he experienced impairments in other motor functions as well.

I honoured my commitment to further investigate the Uttarakaula tradition and its associated practices by working with a small local group. While I focused on my art and teaching, our research gradually expanded. This growth was largely facilitated by the advancements in modern communication, in contrast to the old oral traditions that had been traditionally passed down.

Uttarakaula

The Uttarakaulas are part of a Shakti tradition that focuses on the worship of the Goddess. Historically, this tradition has diminished in favour of Shaivite practices, which centre on Shiva, as well as other patriarchal cults that have migrated from northern regions. Originally, there were five Kaula schools, each representing one of the compass directions, along with an additional school representing the quintessence above.

While many practices have been passed down through oral tradition, Kashmiri Shaivism has generated numerous written texts that emphasise the importance of the Goddess in practice. Therefore, when researching this subject, those texts serve as a valuable starting point for expanding knowledge of the Shakta cosmology that Dadaji presented as aspects of the Goddess.

The first notable source from Kashmir is Abhinavagupta, whose works were developed into more accessible forms, such as the comprehensive ‘Tantraloka’ and the summarised version ‘Tantrasara.’ We utilise a form of initiation that combines his writings with the teachings that Dadaji gave me. Other valuable texts include the ‘Kulanava Tantra’ and the ‘Nirruttara Tantra.’ Additionally, I reference general works by Sir John Woodroffe, particularly ‘Shakti and Shakta,’ as well as David Frawley’s ‘Inner Tantric Yoga’ for guidance on mantras and yantras.

Visits to India and Nepal had to wait until later in life than I would have liked but raising young children, and having a father who emigrated to Colorado to get married again at age 73 meant many other things were time-consuming.

What motivated you to write your books, “Nu Tantras of the UttaraKaulas” and “The Rainbow Bridge – The Shakta Tantrika of the Uttarakaulas”?

I named the book Nu Tantras because they were new to Westerners and give a nod to the Egyptian goddess Nuit, with Thelemite significance. Rainbow Bridge is named for Dadaji’s wish to see an East-West fusion bridge of pagan traditions: where Wicca, Thelema and Taoist practices are akin to Tantrika.

Above all, Uttarakaula in Shakti Tantrism is dedicated to the aspects of the nine Mahavidyas, which Dadaji presents as stages of life development, starting from the early Kaula family and continuing into later life, once family responsibilities have been fulfilled. Patriarchal traditions have dominated the world for too long, often restricting women through purdah or worse, creating what Dadaji referred to as the Misery Cults. However, in the last century, especially in the West, domestic technology has played a crucial role in liberating women both socially and intellectually, providing opportunities for spiritual liberation as well.

What advice would you give to someone drawn to Tantra, especially if they come from a different spiritual background like Wicca or Paganism?

”Siva without Shakti is a Shava [a corpse]” and the Kaula lifestyle gives an alternative to the cremation ground of the ascetic waiting for reward posthumously. Shakti and Shakta are two physiological halves of an electric circuit and we enact Shakti and Siva’s union as the deities emerge from our consciousness. Fast male sex is the way of animals. In my experience only when a female partner has reached orgasm is only the beginning of ecstatic transcendence. Males need to prolong their climax by whatever means possible: oral interlude with the partner or repetition aided by the partner for instance. We are in the 21st century, not only do we have the contraceptive bill to do away with caution, but Viagra as well as herbal alternatives. Use them! Pranayama is useful but Tibetan Buddhists withholding ejaculation is not recommended by modern sexologists. It might work for monks but could have psychological and physical damage to offer to casual users. 

Once ecstatic levels are achieved, the energy of the Shakti descends from her crown down her spine to her basal chakra, Muladhara. This energy then interacts with the male’s basal chakra and travels up his spine to his crown, creating a continuous circuit. 

As with any magical practice, it’s beneficial to document your experiences and visions—whether they are related to the goddess aspect you are channelling or other insights encountered. These notes can aid in self-analysis and can serve as inspirational images for your art, as I have done on canvases and in illustrations for texts. Additionally, they can be utilised in art therapy for enhanced self-realisation.

In India, group practices still exist among certain Kaula clans, despite repression from invading factions, which often leads to secrecy surrounding these practices. They are similar to some Western witches’ Sabbats. Although social attitudes have become more liberal, remnants of old repressions still linger. While there are no fixed patterns for these gatherings, they can range from social rituals to more intimate practices, which tend to occur primarily between established couples. Large groups can lead to disruptive and counterproductive personalities and ideas, so we found that four is an optimal number: one for each element.

Women are naturally drawn to Wicca due to historical suppression, while men tend to be more inclined toward Shaivite organizations, although both genders can participate in mixed-gender activities. The yearly calendar for meetings, which includes solstices, equinoxes, cross-quarter days, and monthly lunar gatherings, does not necessarily align with Indian dates. Therefore, we observe the Wiccan year while also recognizing important Indian dates. For our Green workings, we invoke Pan as the horned god rather than Siva, representing a blend of Western and Eastern traditions. There are few fixed patterns in our practices, and domestic rituals play a significant role in our spiritual unfoldment. Outsiders looking for orgies can find them anywhere but won’t necessarily find them in Tantrika, as there are practices which go way past casual encounters.”

 

Find more about John’s work and art here at JohnPowerWeb and here, at Uttara Kaula.

In today’s fast-paced world, it is easy to get caught up in the chaos and lose sight of our true selves. This is where The Collective comes in – a group of individuals with a shared passion for spirituality and self-discovery. By following their teachings, we can tap into our inner wisdom and find peace amidst the chaos. The Collective serves as a reminder that sometimes the most powerful guru can be found within ourselves if we are willing to listen. Let us embrace this collective journey towards enlightenment together.

New Aeon Tantra: Gregory Peters’ Fusion of Eastern and Western Spirituality

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In a world increasingly craving authenticity and deeper connections, the spiritual landscape is evolving in fascinating ways. New Aeon Tantra: Gregory Peters’ Fusion of Eastern and Western Spirituality is a groundbreaking approach crafted by visionary author and teacher Gregory Peters. This innovative fusion of Eastern wisdom and Western philosophy challenges traditional boundaries, inviting seekers to embark on a transformative journey towards self-discovery and holistic harmony. Whether you’re a seasoned practitioner or just curious about what spirituality can offer in today’s fast-paced society, join us as we delve into the heart of New Aeon Tantra. This unique synthesis promises enlightenment and practical tools for everyday living. 

Introduction: New Aeon Tantra: Gregory Peters’ Fusion of Eastern and Western Spirituality

In a world where spirituality often feels fragmented, Gregory Peters emerges as a bridge between ancient wisdom and modern practice. His book, New Aeon Tantra, invites readers to explore profound concepts blending Eastern philosophies with Western magical traditions. With roots in Tantra’s rich heritage and Thelema’s rebellious spirit, this work does more than educate; it transforms how we perceive our spiritual journeys. 

Gregory Peters is a renowned scholar and practitioner of Tantra, Thelema, and other esoteric traditions. He has studied and practised these disciplines for over 20 years, and his work reflects a deep understanding of their core principles. Peters is the founder of the Ordo Sunyata Vajra, an esoteric order that seeks to synthesise Eastern and Western spiritual practices.

Peter’s writing style is clear and easy to understand, making complex ideas comprehensible for readers at all levels. His approach to spirituality is practical and adaptable, encouraging individuals to find their unique path rather than conforming to rigid belief systems.

Gregory Peters, a teacher, author, and spiritual guide, inspires many through his books, lectures, workshops, and retreats.

New Aeon Tantra offers a modern interpretation of ancient wisdom traditions and is essential for anyone seeking spiritual enlightenment.

What is Tantra: Explaining the concept and its origins

Tantra is an ancient spiritual tradition that emerged in India around the 5th century. It intertwines philosophy, ritual, and meditation to foster a deeper connection with the self and the universe.

At its core, Tantra views reality as interconnected. This perspective encourages practitioners to embrace life in all its forms—physical, emotional, and spiritual. Rather than shying away from desires or worldly experiences, Tantra invites exploration of them for personal growth.

The roots of Tantra can be traced back to texts like the Vedas and Upanishads. However, it evolved significantly through various schools of thought over centuries. Hinduism and Buddhism both adopted elements of Tantric practice but adapted them according to their unique philosophies.

This rich tapestry has led to diverse interpretations across cultures while maintaining its foundational goal: liberation through conscious awareness. 

Tantra places a strong emphasis on understanding and working with energy. This includes the flow of prana (life force energy) throughout the body, as well as the exchange of energies between individuals and the universe. Through practices such as breathwork, meditation, and mantra chanting, Tantra aims to harness and direct this energy for spiritual growth.

One of the key concepts in Tantra is the union of masculine and feminine energies. This is often depicted symbolically through the image of Shiva (male) and Shakti (female) in a divine dance. Practitioners strive to balance these energies within themselves, acknowledging that both are necessary for wholeness and true enlightenment.

Another important aspect of Tantra is its approach to sexuality. While many people associate Tantra solely with sexual practices, it encompasses much more than that. Tantra sees sexuality as a natural and vital part of the human experience that can be used for spiritual growth when approached with intention, awareness, and unconditional love.

In essence, Tantra is a path towards greater self-awareness and connection with the universe. It offers tools for personal transformation and spiritual evolution while emphasizing embracing all aspects of life with mindfulness and reverence.

 

The New Aeon: Understanding the connection between Tantric and Thelemic traditions

The concept of the New Aeon is a central theme in both Tantric and Thelemic traditions. It refers to a new phase in human evolution and consciousness, which was prophesied by Aleister Crowley and other spiritual leaders. This new era is defined by a shift toward self-discovery, individualism, and the realisation of the divine within oneself.

Tantra, an ancient Indian spiritual tradition, emphasises the union of opposites as a means of achieving enlightenment. This includes uniting the masculine and feminine energies within oneself, as well as merging with the divine energy or consciousness. Tantra also values experimentation and exploration as a way to break free from societal norms and limitations.

On the other hand, Thelema, founded by Aleister Crowley in the early 20th century, focuses on finding one’s true will or purpose in life. It also promotes self-knowledge and forging a personal connection with divinity through ritual practices.

Gregory Peters’ philosophy of New Aeon Tantra combines elements from both Tantric and Thelemic traditions to create a unique approach to spirituality. His teachings emphasise embracing both light and dark aspects of our being to fully integrate all parts of ourselves.

Peters asserts that this integration is necessary for reaching true enlightenment in this new age. By understanding our duality and working towards unifying it, we can awaken our true potential and purpose in life.

Another significant aspect of New Aeon Tantra is its focus on sexual energy as a powerful force for transformation. This aligns with traditional tantric beliefs about harnessing sexual energy for spiritual growth.

Through various practices such as meditation, ritual magic, creative expression, breathwork, and sacred sexuality rituals; practitioners can access their inner power to manifest their desires and connect with the divine within.

Moreover, New Aeon Tantra embraces technology and modern advancements as tools for spiritual growth. This is in line with the concept of the New Aeon, which is said to be characterised by rapid progress and change.

The fusion of Tantric and Thelemic traditions in New Aeon Tantra offers a unique perspective on spirituality that embraces individualism, self-discovery, and harnessing inner power through integration. It provides a powerful framework for navigating this new age of human consciousness.

 

Gregory Peter’s Unique Perspective: Detailed analysis of how this book differs from other works on Tantra

Gregory Peters offers a fresh lens on Tantra, setting his work apart from traditional texts. While many authors focus solely on the sensual aspects of Tantric practices, Peters delves into its philosophical roots. He interweaves concepts of consciousness and liberation throughout the narrative.

His approach is remarkably integrative. By marrying Eastern philosophies with Western spiritual frameworks, he creates a dialogue between diverse traditions. This fusion invites readers to explore their own beliefs in new ways.

Unlike other works that may gloss over complexities, Peters encourages deep reflection and personal insight. His writing challenges the reader to engage actively with these ideas rather than passively consume them.

Key Themes Explored: Highlighting important ideas and concepts discussed in the book such as liberation, consciousness, and magickal practices

At the heart of New Aeon Tantra lies the theme of liberation. Peters invites readers to shed societal constraints and explore true freedom through Tantric practices. This journey isn’t just physical; it’s an awakening of the spirit.

Consciousness emerges as another vital concept. Gregory emphasizes expanding awareness, allowing individuals to tap into deeper layers of their being. The exploration leads to profound self-discovery and transformation.

Magickal practices make a striking appearance too. Here, Peters intertwines ritualistic elements with spiritual pursuits, showcasing how intention can shape reality. It becomes clear that these rituals are not merely performative but deeply imbued with meaning.

Throughout the book, these themes resonate harmoniously, inviting practitioners to embrace a holistic approach towards spirituality that transcends cultural boundaries and personal limitations.

Eastern and Western Influences: Examining the fusion of Eastern Tantric practices with Western Thelemic principles

The fusion of Eastern Tantric practices with Western Thelemic principles creates a fascinating tapestry of spirituality. In New Aeon Tantra, Gregory Peters delves into this intersection, revealing how these seemingly disparate traditions can harmonise.

Tantra emphasises experiential knowledge and the sacredness of energy within the body. It invites practitioners to explore their consciousness deeply. This approach is complemented by Thelema’s focus on individual will and personal empowerment.

Peters illustrates how rituals from both traditions can coexist, enriching spiritual journeys. For example, visualisation techniques in Tantra align seamlessly with Thelemic magickal practices that harness willpower for manifestation.

This blending encourages openness to various pathways toward enlightenment. As readers engage with these concepts, they discover tools for greater self-awareness and transformation beyond traditional boundaries.

Personal review of ‘New Aeon Tantra’ 

New Aeon Tantra by Gregory Peters, is the book I’ve been searching for a long time. Gregory’s clear and reflective writing style, combined with his extensive knowledge of the Tantric tradition, guides the practices within this unique magical system.

One of the strengths of this book is Peters’ clear and concise writing style. He effectively communicates complex concepts without overwhelming the reader or losing their interest. He avoids using complicated or obscure language. which can be off-putting for some readers.

Furthermore, Peters dives deep into the history and origins of tantra while still making strong connections to contemporary life. He includes personal anecdotes and reflections throughout the book which adds a level of authenticity to his teachings. 

One particular aspect that stood out for me while reading New Aeon Tantra is how Peters emphasises self-discovery rather than blindly following dogmas or rituals. He encourages readers to find their own path towards enlightenment through introspection, mindfulness, and meditation. This approach sets this book apart from others in its genre as it promotes critical thinking instead of blind faith.

New Aeon Tantra had a profound impact on me as a reader. It challenged my preconceived notions about tantra and introduced me to a more inclusive and diverse form of spiritual practice. Peters’ fusion of Eastern and Western spirituality is seamless, making this book a valuable resource for anyone looking to embark on their own spiritual journey.”

I would highly recommend New Aeon Tantra to anyone interested in exploring the intersection of Eastern and Western spirituality. It is an insightful and thought-provoking read that has the potential to significantly impact the lives of its readers.

Get your copy of New Aeon Tantra here

 

 

Crowley peak moments

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For me, the story of Aleister Crowley’s moment of truth in Cairo 1904 is one of the most interesting in a lifetime graced by perhaps a half dozen such experiences.

Newly married, the “love boat”, or rather tha cruise ship arrived in Alexandra, a short hop from Cairo, where they planned some sightseeing in the fascinating metropolis. They no doubt took in the sites and the nightlife.

Crowley, who already knew the city, having visited a few years earlier, paying a little baksheesh to the local family for special access to the pyramids at night, where in the King’s chamber, he was able to show off some of his old tricks, with a handy copy of the Goetia, which has a preliminary invocation taken from ancient Egyptian magical papyri. The results cannot fail to have impressed Rose Kelly, who later, back in their lavish hotel room, no doubt having imbibed perhaps a little too much of the local Omar Khayyam vintage, fell into a light trance and said: “They are waiting for you”.

More of the story in this bonus episode of the Podcast, the celebrate the days in April 1904 and the reception of the Book of Law

 

Thelemic Symposium 2024 equinox 21 September

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Reviving Tradition: The Oxford Symposium’s Return

After a decade of “silence” the celebrated Oxford symposium rides again, as always a meeting place for the many diverse threads that make the tapestry that is Thelemic magick. Ancient but also post-modern, a style set in motion by the mage Aleister Crowley in our age. Whatever the faults of the first prophet, the symposium aims to be diverse, non-sectarian, inclusive, inspiring, and fun.

Guiding Lights: Mogg Morgan and Sef Salem

Your hosts Mogg Morgan and Sef Salem have curated a potent mix of workshops, presentations, and rituals. 

Mystical Journeys: Chapman’s Angelic Insights

For instance, Alan Chapman, a full-time teacher for fifteen years, guided hundreds of would-be initiates through the reality and myths of profound spiritual practice and experience – traditionally known as the Great Work. Hours of free retreat talks can be found at barbarouswords.com.

 Chapman shares twenty years of mystical experiences. He promises insights into methods, visions, and prophecies.

Chapman authored “Magia” and other works. He founded Ordo Magia and edits for Aeon Publishing.

Esoteric Evolution: Dr. Angela Puca’s Presentation

Dr. Angela Puca presents “From Thélème to Thelema.” She traces esoteric traditions from Rabelais to Crowley.

This presentation examines the philosophical and esoteric lineage from François Rabelais’ ‘L’Abbaye de Thélème’ to Aleister Crowley’s Thelemic doctrine. By exploring the foundational motto “Fay ce que vouldras” within ‘Gargantua’, we uncover its profound influence on Crowley’s central tenet of “Do what thou wilt”. The discussion contextualises Rabelais’ vision of freedom and natural human inclination within the broader framework of Renaissance humanism and its reinterpretation and application in Crowley’s occultism. Through this comparative analysis, we illuminate the transformation of a literary utopia into a spiritual ethos, highlighting the enduring impact of Rabelais’ work on modern esoteric traditions. “Dr Angela Puca is a university lecturer at Leeds Trinity University and holds a bachelor’s and a master’s degree in philosophy. In 2021, The University of Leeds awarded her a PhD in Religious Studies, which will soon be published with Brill.

Her research focuses on magic, witchcraft, Paganism, esotericism, shamanism, and related currents.  

Author of several peer-reviewed publications and co-editor of the forthcoming ‘Pagan Religions in five Minutes’ for Equinox, she hopes to bridge the gap between academia and the communities of magic practitioners by delivering related scholarly content on her YouTube Channel and TikTok ‘Angela’s Symposium.’

Serpentine Wisdom: The Morgans’ Egyptian Workshop

Mogg and Diti Morgan introduce a workshop on Egyptian Serpent Power. They’re known as the Morgan Witches.

Mogg pioneered the first Thelemic symposium in the 1980s. Diti developed Aromamagick, inspired by Kenneth Grant’s teachings. Their workshop reconnects Thelemic magick with its Egyptian origins.

The session combines lectures with hands-on experiences. Participants will sample Egyptian magick techniques. These include ancient rituals and serpent channel work.

The Morgans also explore pharaonic magick’s modern remnants. They’ll explain practices like the Egyptian Zar.

A Gathering of Minds: Notable Speakers at the Symposium

This workshop is part of a diverse program. It features notable speakers like:

  • Cavan McLaughlin discussing optimal will manifestation.
  • Caroline Wise delving into Steffi Grant’s life and art.
  • Dr. Halo Quin examines encounters with Babalon.
  • Sef Salem & Societas Astris leading a group ritual.

Daoist Mysteries: Jason Read’s Exclusive Workshop

Jason Read offers a Daoist magic workshop. It’s open to all, regardless of experience. The workshop covers talisman crafting and ‘mana’ generation.

The lineup promises an immersive magical experience.

All this plus a closing ritual, evening entertainment and Social 

For more details on these and others, visit the newly minted Symposium website:


Get your early bird tickets now

 

The Hierophant

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Crowley’s Thoth Tarot offers a much richer layer of meanings and symbolism than usual. His underlying messages convey his ideas and beliefs, making the deck an intriguing source for contemplation. Before analyzing the symbolism of this card, we’ll only consider it from a Crowlian perspective — namely, my own. To get a better grasp of the Hierophant, let’s first look at what it signifies. The hierophant is a top religious figure like the Pope, or the chief Rabbi, whose job was to be a conductor, a channel, funnel, or mediator between the gods and the people. In this particular card, focusing only on the hidden symbolism, the hierophant is the representation of the goddess Nuit.

Nuit is the embodiment of infinite space and also the mother of all stars — for it’s known that “Every man and every woman is a star”(Liber AL, chapter 1, verse 3). With this in mind, she is where each star returns. Additionally, she is also the divine law which must be given to those who follow the hierophant. “Let the woman be girt with a sword before me” (Liber AL, chapter 3, verse 11) At the front of the card, before the hierophant, we can see the woman girt with a sword. The Book of Thoth speaks of the ‘Scarlet Woman’ as an emblem of the new era; she stands for a transformation away from her traditional image as a housewife or accessory to her male partner, instead embracing her identity while searching for autonomy and equality.

“The woman is the priestess; in her reposes the mystery. She is the mother, brooding yet tender; the lover, at once passionate and aloof; the wife, revered and cherished. She is the witch woman.” (Freedom is a Two-edged Sword, Jack Parsons) The deeper we look into the hidden symbolism and meaning of this mysterious woman, the clearer it becomes that she can be Nuit herself, guarding the divine law. The law is simple and clear and the hierophant’s job is to pass it to their congregation:

“Do what thou wilt shall be the whole of the Law”
“Love is the law, love under will”
Or in our words:
“Love and do what you will.”
“The symbolism of the Wand is peculiar” – Solve et Coagula (Aleister Crowley, The Book of Thoth). Crowley describes the three interlaced rings of the wand, as a “representative of the three Aeons of Isis, Osiris and Horus”. However, on a closer look, we see the hierophant holding the wand with its three rings aspiring upward, in his right hand (solve). As a Setian/Typhonian, I couldn’t help the thought that the three interlaced rings would be much more comfortable in the right hand of destruction (solve) as a representative of Set, Osiris & Ra.
Set and Osiris are both Ra’s grandsons and make a sacred triad. Both brothers have to sacrifice themselves for the continuation of Ra — of life — Osiris being killed by his brother Set, and Set killing his brother and becoming the ‘outcast’ God. Demonstrating the cycle of life through destruction and creation is continued with the symbolism of the hierophant’s left hand. His left hand (coagula) points downward in the Shamak mudra hand position. I must admit that this never occurred to me before, but once I became aware of it, I could not un-see it.
The Shamak mudra, also called the kidney mudra, is the perfect hand position to deliver the message of Solve et Coagula (destruction and creation). At the start, I had difficulty understanding how the Shamak mudra was linked with Solve et Coagula and its role in occult symbology in particular for the hierophant and his wand.

Shamak mudra

Coagulation means the action or process of a liquid, especially blood, changing to a solid or semi-solid state (OED). The main function of the kidneys is to cleanse the blood of toxins and transform the waste into urine. The hierophant’s right hand in the Shamak mudra, suggests that before we can coagulate, we must be cleansed and purified of all toxins. Only then can we coagulate into our new and transformed selves.
“The Throne of the Hierophant is surrounded by elephants, which are of the nature of Taurus; and he is actually seated upon a bull.” (Aleister Crowley, The Book of Thoth). At first sight, the card seems to resonate with the symbolism of the zodiac sign Taurus, which is an earth sign. The element of earth is represented in this card as the Bull/Kerub and symbolizes the earth element at its most balanced and strong. If we look at the symbolism of the bull from the Setian perspective, it takes us back to the prehistoric ‘cattle cult’, which is probably one of the world’s oldest. Egyptian male deities often have a bull representation. Set is most notably known for the ‘Bull of Ombos’. This bull cult likely evolved out of the Cattle cult, which was centred around the Heavenly Cow/Hathor, who symbolizes the feminine aspect of this tradition.
The bull is associated with male fertility and strength, as seen in energy, stamina, and endurance. Worshipped in antiquity, it is also linked to the zodiac sign Taurus, which is associated with spring in the agricultural calendar as a symbol of renewal, prosperity, and abundance. However, this powerful creature can be equally connected to hard-headedness, ferocity and brutality — all the qualities of a deity — where it would accept a sacrificial offering as an act of reverence. It is easy to believe that religious reverence for the bull’s cult has been forgotten in modern times, yet our practices today have still taken on a new form – the dairy and meat industry.

Cave paintings from the Tassili n’Ajjer mountains (photo courtesy of wiki commons wikimedia.org)

Just to remind you, a hierophant is a person who brings religious congregants into the presence of that which is deemed holy. As such, a hierophant interprets sacred mysteries and arcane principles. In this card, the hierophant symbolizes the link to the secret of the rhythm of time and the ancient practice of the worship of the bull.
The secrets of the Timelords are encoded in the divine law which is guarded by Nuit/Nwt and delivered by the hierophant.
– From Aromagick by Diti J Morgan, 2023

Purple Magick – Mayday/Beltane

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These sea snail shells were excavated from Roman sites near Tyre in Lebanon. The creatures inside were crushed and boiled in a salt solution to produce the famous ‘Tyrian Purple’. It took 10,000 snails to produce just 1.4 grams of dye, making it very valuable and it became the preserve of Emperors, hence its alternative name, ‘imperial purple’. (Pitt Rivers Museum, Various collections)

Mayday/Beltane falls midway between the spring equinox and the summer solstice in the northern hemisphere. The rite of spring has probably been celebrated since time immemorial. In the Western world, in Europe in particular, May 1st will be celebrated by dancing around the Maypole which symbolizes phallic energy. The Maypole is decorated with flowers that represent the buds of fertility and sexual energy. 

Beltane is a significant festival in Gaelic culture, alongside Samhain, Imbolc, and Lughnasadh. It was traditionally celebrated throughout Ireland, Scotland, and the Isle of Man. The festival featured special bonfires that were believed to have protective powers. People and their livestock would walk around or between these bonfires and sometimes leap over the flames or embers. All household fires were extinguished and then re-lit from the Bealtaine bonfire. 

So what has the colour purple got to do with Beltane and Mayday?

I’ve always loved the colour purple. It’s a unique colour that combines the stability of blue and the passion of red. It’s inspiring to me because it encourages me to reveal my innermost thoughts and feelings. When I think of purple, I’m reminded of how it stimulates my imagination and encourages my creativity. It’s a colour that promotes spiritual growth and intuition, which is something that’s important to me. At the same time, purple also promotes understanding and acceptance. It reminds me that there are so many great unknowns in the world that are waiting to be explored. But even as I explore those unknowns, purple keeps me grounded and reminds me to stay focused on what’s truly important in life.

“4. The deep violet is episcopal. It combines 2 and 3, a bishop being the manifested through the principle of blood or animal life.” (Column XV, King’s Ladder, The Qabalah of Aleister Crowley)

In other words, the colour purple is the bishop of colours, it combines the red of blood and the blue of the sky. Red symbolises blood, fire, love, passion, warmth, lust and sexuality. Blue represents the sky, freedom, intuition, imagination, inspiration, depth, sensitivity and the infinite horizon of the open spaces. And most of all, abundance and balance. When blending the two, purple is created, which allows us to explore and experiment with a range of complicated emotions at once and gives us the freedom to be inspired by sexuality, passion, lust and imagination.

“The colour violet, generally speaking, signifies a vibration which is at the same time spiritual and erotic; i.e. it is the most intense of the vibrations alike on the planes of Nephesch and Neschamah…” (Column XV, The Zodical Attributions: The Qabalah of Aleister Crowley) 

The wickedest man in the world, the Beast 666, Count von Zonaref and Alastair McGregor were some of the aliases Crowley used to go by, but every now and then he used the title “The Purple Priest”. The colour purple is used to designate a specific position in the church, such as Bishop or senior Bishop, and by using the title The Purple Priest, Crowley is hinting at his specific position in his church (of Thelema). 

Crowley uses the colour purple as an erotic-spiritual motif to convey the esoteric message in the rituals and worship of Thelema. 

For example, in Liber Al – The Book of the Law, paragraph 61, we can see how Crowley uses the colour purple in his writings:

“But to love me is better than all things: if under the night stars in the desert thou presently burnest mine incense before me, invoking me with a pure heart, and the Serpent flame therein, thou shalt come a little to lie in my bosom. For one kiss wilt thou then be willing to give all, but whoso gives one particle of dust shall lose all in that hour. Ye shall gather goods and store of women and spices; ye shall wear rich jewels; ye shall exceed the nations of the earth in splendour & pride; but always in the love of me, and so shall ye come to my joy. I charge you earnestly to come before me in a single robe and covered with a rich headdress. I love you! I yearn to you! Pale or purple, veiled or voluptuous, I who am all pleasure and purple, and drunkenness of the innermost sense, desire you. Put on the wings, and arouse the coiled splendour within you: come unto me!”

By using metaphors such as pale or purple, the author might be hinting at the physiology of the lingam. “Pale” suggests a flaccid lingam, and “veiled” could be the stage just before the lingam is fully erect, also it might suggest an uncircumcised lingam. “Purple” suggests its “voluptuous” erection. There are several veins and arteries that carry blood to and from the spongy erectile tissue in the penis. Veins may look larger than usual during and immediately following an erection. The appearance of prominent veins indicates healthy blood flow and gives the lingam a “purple hue. 

Next, the colour purple is used to describe “she” who is “all pleasure and purple,” and here the purple is used as a metaphor for the yoni —  the purple pleasure…  

By using those metaphors, the purple priest emphasises the intensity and depth of the spiritual and erotic vibration in religious-like practices of carnal pleasures. The second half of the sentence – “and drunkenness of the innermost sense,” hints at the ecstatic heights of the orgasm that awaits in the palace (Liber Al 1:51). The Palace is another metaphor for the yoni – see Mogg Morgan’s Aleister Crowley & Thelemic Magick page 39.

In his Hymn to Pan we can see the “purple motif” again:

“…Dip the purple of passionate prayer

In the crimson shrine, the scarlet snare,

The soul that startles in eyes of blue

To watch thy wantonness weeping through…”

There is something very special at this time of the year, the ancient earth dragon, Kundalini, is now fully awakened. The air is fragrant with the sweet heady aromas of many colourful blossoms. Insects, animals and humans alike walk or crawl out of their burrows, rub their eyes, stretch their limbs and start dancing a sensual mating dance. It’s the season to celebrate desire, lust, fertility, or in other words, nature’s tantric celebration. 

This is the season of Pan, the “All-devourer, all-begetter”. There is something very salacious about dancing around a Maypole. And by leaping over the Beltane fires, we awaken the most ancient magick of all, the passion for the union of body and spirit — “a vibration which is at the same time spiritual and erotic”.

This is the perfect time to wear the K-23 perfume oil which will connect you to the spirit of Pan and his passionate lust for earth and life. Then, go outside and do the Jitterbug. 

The term jitterbug is used to refer to different swing dances, such as the jive and the lindy hop. It comes from slang used in the early twentieth century to describe alcoholics. The term became associated with swing dancers because, like the jitters of alcoholics, they were seen to be out of control.

K-23 perfume oil

As discussed earlier in the book, the properties of water allow us spiritual cleansing, where immersion in a ritual bath is always desirable and recommended before magical activity. To connect with the purple magic frequency and awaken the energies of the Kundalini serpent I recommend my special purple bath ritual which is specifically designed to raise our sexual and magnetic powers and to synchronise ourselves with potential or existing partners. Partners can share their bath in the spirit of a purple magick ritual for play, however, here at the Morgan Witches’ headquarters, we prefer to have our ritual baths separately (usually one after the other) and by doing so, each of us has the time to relax and meditate. It takes 15 minutes for our body to reach a general relaxation that allows the blend of oils to work its magick on our consciousness.

Prepare your bathroom as you would any other ritual space, you can have a ‘purple altar’ if you have the room for it, but remember that the altar is the bath, and the water is the vessel which conducts the transformation of the offering which in this case is in the oils and you. 

When using the Purple Magick Perfume Oil you can add about 10-15 drops to a tablespoon of sea salt, Himalaya salt or Epsom salts and add it to the bath water. Each of the essential oils suggested here can be used on its own or in combination with one of the other essential oils which are recommended in this chapter. However, mixing and blending essential oils is a form of art and technique that need to be learned and mastered. You can use the recipe at the end of the chapter as a guideline for making your own bath blends.

Make sure that the water is hot enough for you to relax in them for 15 minutes.

Get in the water and lie comfortably, close your eyes, take a few deep breaths and listen to the mantra or music of your choice.

I find that the Kirtan Kriya (Sa Ta Na Ma) mantra is most suitable to listen to in the purple bath ritual. 

You can find it here.

If you want to experience the purple magick in its full power I recommend the Great Purple Hoo-Ha meditation while in the bath. The Kirtan Kriya mantra will amplify the experience. 

The Great Purple Hoo-Ha Meditation

This meditation is based on a technique described in Phillip H. Farber’s book The Great Purple Hoo-Ha. Philip H. Farber is a writer, hypnotist, NLP trainer, ritualist, and consciousness explorer. He is best known for his book on ritual magick, Future Ritual: Magick for the 21st Century and as the creator of Meta-Magick, a system of practice combining elements of magick, NLP, hypnosis, and more.

Sit in a comfortable position with your spine upright (if you are in the bath, just make yourself comfortable and relax in the water).

Close your eyes.

Imagine a circle around you, with a diameter just slightly greater than your outstretched arms, with you at the exact centre.

Inhale, filling your lungs completely, from bottom to top. 

As you inhale, allow your attention to expand and fill the circle around you with purple. 

Exhale, and as you do so place your attention to a tiny spot within the centre of your chest.

Continue to practice like this, filling the circle with every inhalation, contracting down to a single point in the middle of your chest.

When your circle is full of purple, inhale and expand your attention to fill the entire room with purple. 

Then, when you exhale, contract it down to a single point in the centre of your chest. 

Once the room is full of purple, on the next inhalation expand your attention to fill the largest area you can conceive: the city, the county, the state, the world or even the solar system and the whole universe, with the colour purple. As large as you can manage. 

And again, when you exhale, contract your attention down to a single point in the middle of your chest. 

When you are ready, open your eyes and return to your regular breathing.

Thank yourself, the water and the oils, climb out of the bath, dry yourself and get dressed (or not) and carry on with your Purple Magick celebrations.

Purple Magick Perfume Oil

Image created with the collaboration of the Craiyon AI and Photoshop.

The first essential oil that comes to mind concerning Purple Magick, as Scott Cunningham put it “downtrodden Patchouli”.

Even now, most people still associate its sweet musky and earthy aroma with the ‘Hippy’ culture of the 60s & 70s. 

So what has Patchouli got to do with Purple Magick?

Patchouli Pogostemon cablin

Patchouli is a bushy herb about a metre high with a sturdy, hairy stem and large, fragrant, furry leaves and white-purple flowers.  It is native to Southeast Asia. Once harvested, the patchouli leaves are left to ferment in the shade and then dried for three days. The fermentation process apparently improves the quality of the oil, which is extracted using steam distillation.

In the 19th century, cashmere shawls and bed linen were imported from India to Europe. To keep the delicate fabrics free of moths, they were packed with patchouli leaves, which were used throughout the East as an insect repellent. These Patchouli-scented shawls and linen became a must-have item for well-to-do and fashionable women of the time. It didn’t take long for the Patchouli fragrance to be associated with wealth and indulgence.

The earthy sweet aroma of the plant soon became a trend with many European manufacturers of fabrics and furniture which started to infuse their goods with the scent of Patchouli. It is almost unavoidable to thus visualise and smell the luxurious, heady, musky, scented bedrooms of 19th-century ladies. The richness of the scent has been associated as an aphrodisiac for centuries, the earthy-musky notes make us feel secure, relaxed and open up to our own sexuality. The smell of the bed linen and the furniture infused with Patchouli oil was evocative and sensuous, and the link between Patchouli and sensuality has never been forgotten from our collective memories of those 19th-century bedrooms.

So next time you watch a period drama or read a novel about this period, and you want to intensify your experience of the novel/drama, make sure you have a bottle of Patchouli at hand so you can smell it during the bedrooms scenes or whenever a cashmere shawl appears.

The sweet and heady scent of the Patchouli blends perfectly with the exotic fragrance of  Ylang-Ylang. On its own, I find Ylang-Ylang a bit overpowering and far too sweet, but the earthiness of Patchouli seems to anchor the sweetness of the Cananaga odorata and turn it into a somewhat lighter and mysterious exotic fragrance. 

Ylang-Ylang Cananaga odorata

Ylang-Ylang is a tall tropical tree with large, tender, sweet fragrant yellow flowers. It is native to Southeast Asia. Its essential oil is extracted by water or steam distillation from freshly picked flowers. There are 5 grades of distilled essential oil, with Ylang-Ylang extra as the top grade.

The sweet, exotic-balsamic scent of Ylang-Ylang will balance and calm an overactive mind or any over-emotional state or feelings. In Indonesia, its fragrant flowers have long been associated with aphrodisiacs. To promote a relaxed and sensual atmosphere, fresh Ylang-Ylang flowers are harvested and spread on the newly wedded couple’s bed. 

Both Ylang-Ylang and Vetiver are under the planetary influence of Venus, the goddess of love, beauty and sensuality. Together they combine two of her most precious elements, the stability of the earth represented by Vetiver and the fluidity of water represented by Ylang-Ylang. On the emotional, physiological and magical level, these two oils blended together act as the psychic lubricant of body and mind. Once the harmony between these two Venusian oils has been established we can introduce Jasmine, the “King of flowers” to the formula (Cunningham: 1997). Jasmine is known for its qualities as a sexual tonic and aphrodisiac. The intensely rich, warm and sensual, sweet floral scent, has a direct effect on our emotions and can produce a feeling of optimism, confidence and euphoria. Its association with the moon will add a silvery reflection to a sensuous magical rite, where there is a union of lovers. Its elemental characteristics of both fire and water will intensify the sacred sexual union with a magical oomph of flowing passion.

To balance out the richness of the sweet and heady aroma of the blend I added a few drops of Bergamot. The fresh and fruity, citrusy scent of the oil, is just sharp enough to break the nearly overwhelming sweetness of the heady blend. 

Bergamot Citrus bergamia

This small tree, about 4.5 metres high with smooth oval leaves, and small round fruit,  ripens from green to yellow, similar to orange in appearance but smaller. Native to tropical Asia. Extensively cultivated in southern Italy, Sicily and the Ivory Coast. Essential oil extraction is by cold expression of the fruit’s rind.

Safety data: Certain furocoumarins, notably bergapten, have been found to be phototoxic on human skin; that is, they cause sensitisation and skin pigmentation when exposed to direct sunlight. 

The scent of Bergamot resembles that of orange but with more floral and zesty underlying characteristics that add a spicy edge to it. Bergamot possesses magical qualities that can alleviate nervous tension and physical stress, acting like a wand by lifting, shifting, releasing, and dispersing these feelings. Bringing peace and happiness and creating a space allows both body and mind to rest and relax. The lightness and uplifting touch that Bergamot adds to the blend, accentuates each of the other fragrances and mixes them together into a bewitching sensual perfume which will work both ways on its wearer and their partner.

Purple Magick bath recipe: 

In a small bowl, mix 1 tablespoon of sea salt, Himalaya salt or Epsom salt,

1 drop of Patchouli

1 drop Ylang Ylang

2 drops of Jasmine

3 drops of Bergamot

For your safety, I recommend using the following recipe for a night-time bath due to the sensual nature of purple magick and the potential risks associated with Bergamot essential oil. 

It’s important to note that the Purple Magic Perfume Oil is safe to use as it contains bergapten-free essential oil.

***

Purple Magick – Mayday/Beltane is an extract from my soon-to-be-published book Aromagick – A Scentual Journey Through The Ritual Year.

For any inquiries about the Aromagick perfume oils series, please contact Mandrake at https://mandrake.uk.net/contact/

Have a fabulous Purple Magick season

Diti J Morgan

 

 

 

 

About Altars

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Babalon the Scarlet woman

The altar is raised structure or place that is used for sacrifice, worship, or prayer. 

A working altar could be a table or anything similar to it. 

The height of the Altar is equal to the height above the ground of the navel of the Magician. (Liber ABA, chapter III).

The altar is the place in which we focus our magical work and consecrate and keep our ritual tools. There are all sorts of altars, which usually correspond to different types of magical work and deities. 

When we start working with a new deity, or one that we never worked with before, it is advisable to dedicate an altar just for it. In this way, we can fine-tune ourselves into the subtle energies of the deity. Only when we learn enough and get familiar with the deity, we might want to try and add another deity to the same altar. 

Some deities even though belong to the same pantheons, would not approve of sharing the same space with one another. I realize that this might sound a bit nonsensical to the neophyte, but it is easy to detect, as soon enough you will notice the disharmony flowing around your house and affecting everything you do. Some traditionalists would even go as far as separating certain deities completely from the rest and dedicating a whole room to them.

But we are Chaos Magicians, I hear you say, how does this apply to us?

To master the art of Chaos magic, we need to learn first the order of things and how they work, only then we will know how to turn chaos into magic. To live in chaos does not make you a chaos magician…

I have many altars around the house, each one of them is like a PowerPoint of certain energy and information that I can stop by whenever I need or want to, and charge myself with. The main altar in the house is like an ongoing creation of itself, always changing according to the seasons and the sabbats or the main magical work of a specific time. 

***

The Altar should delight

A personal magical altar should be a delight to behold. Keep things simple and aesthetically pleasing. For starting out, you need only a very few things. A basic altar usually has on it symbols of the five elements. Candles or lamps for fire, a cup for water, incense and burner for smell, a plate or pentacle for earth, a bell for spirit. Try to put aside any doubts you have about the need to have these things actually there. You will come to see these doubts as just another kind of conditioning that you need to work through. 

Optional things for your altar are perhaps a special knife or wand to point with when doing an invocation. At this stage a finger does just as well. A wand you make now may not please you in a years time but you will nevertheless have great difficulty abandoning it. To avoid this problem, why not do without a wand until you really feel the need for one – perhaps you never will. Other useful things include a robe or cloak (black cotton is the most widely used variety). Robes and cloaks work well for standing up rituals, but for sitting down, of which there is a fair amount in Magick, they can be a bit restrictive. If your room is well heated then going naked might be an option, otherwise comfortable leggings, sarong or yoga trousers might be better. 

One last recommendation, try using real incense, which is burnt on self lighting charcoal. Clouds of incense have long been used by magicians as an alternative to the ancient animal sacrifice. Real incense is more expensive, but can be more potent than joss sticks. But even the later vary a lot in quality, so investigate the best. Ask about reputable magical incense suppliers or details about how you can make your own – as with anything there are good and bad suppliers of such things. 

(From Thelemic Magick: Mogg Morgan 2022)

***

From Liber ABA

CHAPTER III

THE ALTAR

THE Altar represents the solid basis of the work, the fixed Will

footnote: It represents the extension of Will. Will is the Dyad (see section on the Wand); 2 x 2 = 4. So the altar is foursquare, and also its ten squares show 4. 10 = 1 + 2 + 3 + 4.

of the Magician; and the law under which he works. Within this altar everything is kept, since everything is subject to law. Except the lamp.

According to some authorities the Altar should be made of oak to represent the stubbornness and rigidity of law; others would make it of Acacia, for Acacia is the symbol of resurrection.

The Altar is a double cube, which is a rough way of symbolizing the Great Work; for the doubling of the cube, like the squaring of the circle, was one of the great problems of antiquity. The surface of this Altar is composed of ten squares. The top is Kether, and the bottom Malkuth. The height of the Altar is equal to the height above the ground of the navel of the Magician. The Altar is connected with the Ark of the Covenant, Noah’s Ark, the nave (“navis,” a ship) of the Church, and many other symbols of antiquity, whose symbolism has been well worked out in an anonymous book called “The Cannon,”

WEH footnote: written by William Stirling

(Elkin Mathews), which should be studied carefully before constructing the Altar.

For this Altar must embody the Magician’s knowledge of the laws of Nature, which are the laws through which he works.

He should endeavour to make geometrical constructions to symbolize cosmic measurements. For example, he may take the two diagonals as (say) the diameter of the sun. Then the side of the altar will be found to have a length equal to some other cosmic measure, a vesica drawn on the side some other, a “rood cross” within the vesica yet another. Each Magician should work out his own system of symbolism — and he need not confine himself to cosmic measurements. He might, for example, find some relation to express the law of inverse squares.

The top of the Altar shall be covered with gold, and on this gold should be engraved some such figure as the Holy Oblation, or the New Jerusalem, or, if he have the skill, the Microcosm of Vitruvius, of which we give illustrations.

On the sides of the Altar are also sometimes drawn the great tablets of the elements, and the sigils of the holy elemental kings, as shown in The Equinox, No. VII; for these are syntheses of the forces of Nature. Yet these are rather special than general symbols, and this book purports to treat only of the grand principles of working.

{diagrams on this page, at top the microcosm of Vitruvius from the title page decoration (not frontispiece as is sometimes said) to Robert Fludd’s “Utriusque Cosmi Maioris scilicet et Minoris Metaphysica, Physica, Atque Technica Historia”, based on a Renaissance copy of Vitruvius’ 1st century “De Architectura” as interpreted by Cesariano in 1521, minus Fludd’s rope, clouds and winged fawn+hourglass, with the caption beneath “DESIGN SUITABLE FOR TOP OF ALTAR”, and below that a geometrical figure of the planets and stars from “The Cannon” fig. 3, p. 30, chap. II. with the under caption “THE HOLY OBLATION”}

{diagram on this page: Inside a dashed equilateral triangle are a scourge, chain, dagger and a wide, low perfume bottle shaped like a woman’s breast with nipple, below this is a scale in inches and below that the caption “THE SCOURGE, THE DAGGER, AND THE CHAIN; ENCLOSING THE PHIAL FOR THE HOLY OIL.”}

 

The Hierophant – Love and do what you will

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Chapter 3, verse xi: “Let the woman be girt with a sword before me”.

The symbolism of Crowley’s Thoth tarot is much more profound than the usual tarot meanings and symbolism. Crowley had a wonderful underlined subtext and messages communicating his ideas and beliefs through the Thoth tarot deck. I find his ‘secret’ symbolism and messages fascinating. 

Before we start to explore the symbolism of this card, remember we are only approaching it from the Crowlian point of view and a very specific one – which is mine. 

Let us understand first who is the Hierophant and what it represents.

The Hierophant is a person, especially a priest, who interprets sacred mysteries or esoteric principles. 

According to Wikipedia, a hierophant (Ancient Greek: ἱεροφάντης) is a person who brings religious congregants into the presence of that which is deemed holy.  As such, a hierophant interprets sacred mysteries and arcane principles. In Attica, Hierophant was the title of the chief priest at the Eleusinian Mysteries. It was an office inherited within the Philaidae or Eumolpidae families. The office of Hierophant, High Priestess and Dadouchousa Priestess were all inherited within the Philaidae or Eumolpidae families, and the Hierophant and the High Priestess were of equal rank. It was the task of the High Priestess to impersonate the roles of the goddesses Demeter and Persephone in the enactment during the Mysteries.

The Hierophant is associated with the element of earth.

From the above, we can understand that the hierophant is a top religious figure like the Pope, or the chief Rabbi if you like, whose job was to be a conductor, a channel, funnel or mediator between the gods and the people. In this particular card, focusing only on the hidden symbolism, the hierophant is the representation of the goddess Nuit.

Nuit represents the element of infinite space. The mother of all stars – after all – “Every man and every woman is a star” (chapter 1, verse 3). Nuit is also the place each star is return to when his or her light diminishes. She is also the divine law. The law that the hierophant needs to transmit to her followers. 

 “Let the woman be girt with a sword before me” 

At the front of the card, before the hierophant, we can see the woman girt with a sword. 

According to The Book of Thoth, “she represents the Scarlet Woman in the hierarchy of the new Aeon” or in other words, representative of the ‘new woman’, ie, no more just a housewife or a pretty decor on the arm of her husband or boyfriend, but armed and militant, seeking her truth and equal rights. 

We can see how all of this manifests in the feminist movement of the 70s and the Me Too movement of our days. 

The woman girt with a sword , “The woman is the priestess; in her reposes the mystery. She is the mother, brooding yet tender; the lover, at once passionate and aloof; the wife, revered and cherished. She is the witch woman.” (Freedom is a two-edged Sword, Jack Parsons)

The deeper you look into the hidden symbolism and meaning of this mysterious woman, the clear it gets, that she can be Nuit herself, guarding the divine law.  

The law is simple and clear and it’s the hierophant’s job to pass it to his congregation:

“Do what thou wilt shall be the whole of the Law”

“Love is the law, love under will”

Or in our words 

Love and do what you will

***

“The symbolism of the Wand is peculiar” – Solve et Coagula

Crowley describes the three interlaced rings of the wand, as a “representative of the three Aeons of Isis, Osiris and Horus”. However, on a closer look, we see that the hierophant holding the wand with its three rings aspiring upward, in his right hand (solve).  

As a Setian/Typhonian, I couldn’t help the thought that the three interlaced rings, would be much more comfortable in the right hand of destruction (solve) as a representative of Set, Osiris & Ra. 

Set and Osiris are both Ra’s grandsons and make a sacred triad. Both brothers have to sacrifice themselves for the continuation of Ra — of life — Osiris by getting killed by his brother Set, and Set killing his brother and becoming the ‘outcast’ God. (Aromagick)

The demonstration cycle of life through destruction and creation is continued with the symbolism of the hierophant’s left hand.

His left hand (coagula) is pointing downward in the Shamak mudra hand position. I must admit that this never occurred to me before, but once I become aware of it, I could not un-see it. 

The Shamak mudra also calls the kidney mudra, is the perfect hand position to deliver the message of Solve et Coagula (destruction and creation). In the beginning, I couldn’t see the connection between the kidney mudra to the word coagula and what it represents in the occult symbolism, especially here, to the hierophant and his wand. 

Coagulation means The action or process of a liquid, especially blood, changing to a solid or semi-solid state.
“a supplement that inhibits blood coagulation”

The main function of the kidneys is to cleanse the blood of toxins and transform the waste into urine.

The hierophant’s right hand in the Shamak mudra, suggests that before we can coagulate, we must be cleansed and purified of all toxins. Only then can we coagulate into our new and transformed selves. 

“The Throne of the Hierophant is surrounded by elephants, which are of the nature of Taurus; and he is actually seated upon a bull.”

At first look, the card seems to resonate with the symbolism of the zodiac sign Taurus, which is an earth sign. The element of earth is represented in this card as the Bull Kerub and symbolises the earth element at its most balanced and strongest. If we look at the symbolism of the bull from the Setian perspective, it takes us back to the cattle cult which is probably the oldest cult in the world. 

Cave painting from the Tassili n’Ajjer mountains

All Egyptian male deities have bull avatars. The Bull of Ombos is the avatar of Set. The Bull Cult probably sprang out of the Cattle cult linking deities like the Heavenly Cow/Hathor which represents the female aspect of the cult. 

The bull symbolises male fertility and potency and is connected with energy, stamina, endurance, protection, and aggression. As a symbol of strength, the bull was worshipped throughout the ancient world. From the astrological point of view, the zodiac sign of Taurus is linked to Spring in the agriculture calendar. Symbolising the season of rebirth, wealth and abundance. The bull also stands as a symbol of stubbornness, ferocity, tyranny and brutality, all the characteristics of a powerful God/s, and will make an honourable sacrifice for the almighty.

We might think, that we have moved on from the religious practices and worship of the bull’s cult, but today, the cattle cult assumed a different structure — the dairy and meat industry, that most of us are pretty much worshipping still.

Just to remind you, a hierophant is a person who brings religious congregants into the presence of that which is deemed holy.  As such, a hierophant interprets sacred mysteries and arcane principles.

In this card, the hierophant symbolises the link to the secret of the rhythm of time and the ancient practice of the worship of the bull. 

The secrets of the time lords are encoded in the divine law which is guarded by Nuit/NWT and delivered by the hierophant.

Timelord (?)

Fire & Water, Oshun & Babalon

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“Babalon, let me tell you about Babalon, I was just looking at my diary from a while back, fire and water, that’s her, like Oshun, Orisha of the rivers and sweet waters. Here’s how she found me. I’ve been invited to take part in a ceremony of a different tribe, they share the same path of the Serpent and the Panther, but the practice is different. My tribe like to dive into the pool of the void, through its darkest tunnels and halls until it turns into light.

The other tribe practice the way in great light and celebration, even at the darkest moments somehow they find a way to celebrate with a beautiful practice. I thought that it is the perfect space to evoke Babalon. I needed to get some answers from her, so I put on my red dress and made a little tobacco offering to the fire. Then I waited for her to give me a sign; when it comes it is like the rhythm of the ayahuasca dream state of mind:

The serpent is awake,

Is coiling in my tummy and heart,

It is moving and winding, its scales are bright red,

It is getting ready to move up toward my neck,

I’m terrified it is going to swallow me,

It changes into a serpent-like flower,

Changing its colour from red to yellow,

More and more serpent-like flowers are popping around me.

I can hear the Oshun song from the distance,

I am singing it,

I can hear Babalon whispering in my ears,

To understand me, go with Oshun.

I get it…

At first, the Scarlet Lady and Oshun look like they have nothing in common. Oshun is the Yellow Lady of the rivers … but to embody the will and the passion to create magic and change, you need to move in a wavelike motion, to be fluid like water.

Babalon rides the flames of the ever-burning fire. If you look closely at the flames, you can see that they have a strange fluidity. Fire, like water, always has to move, expand and never standstill. So both ladies share the same qualities. Oshun is the watery aspect of Babalon, and Babalon is the fiery aspect of Oshun. You cannot create magic from still water that lacks fluidity.

You cannot create magic from still and tamed fire, which will soon burn out and die.

In the morning after the ceremony closed, I stood by the fire talking to the shaman, when something caught my eye. At the side of the fire was a statue of Shiva holding the Trishula 1 trident, and next to it two further Trishula, made from iron. I couldn’t believe my eyes. I’d dreamt of that very Trishula the month before!

 

When I asked the shaman what he uses them for, he said what I have always known: at the ceremony the Trishula helps destroy the three worlds that we find so hard to let go of. After the ceremony, we arrived at the here and now, with joy, beauty and bliss in our hearts. Who said that dreams can’t come true??

Om Namaha Shivaya

Viva Oshun

Hail Babalon.”

  • From NakedTantra by Miryamdevi & Minanath

Fool’s Journey

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Many view the fool as he is about to fall into the abyss, off the cliff. In my eyes, the fool always seemed like he is about to leap higher, ready to take the greatest leap of fate of them all. He is looking ahead and up with a little smile and a glint in his eyes, his dog is just as excited as he is and the rays of Aten shining upon him. If we look carefully at the picture, we don’t really see the abyss, we only assume it is there, which tells us never to assume anything before you carefully check the details you are presented with. 

The card is in vibrant yellow, the colour of our conscious mind, the practical mind – the doer not the dreamer. Yellow is a stimulating colour, which stimulates our nerves, glands and brain, making us more alert and full of energy. It boosts our memory and intellect, arouses original thought, and curiosity and encourages communication. 

Yellow is the colour That promotes activity and interaction and helps us find new ways and new ideas. Even the fools’ boots are yellow which symbolising suggests that the fool is fully aware and prepared for the things to come. 

Kameswari is the first Kala of the moon cycle and she corresponds with the letter Aleph.

“Aleph corresponds with or is the alphabet’s New Moon” (from Egyptian Magick by Mogg Morgan). Kameswari’s foot represents the first step of the Lunar month cycle, that she/we are taking on the first phase of the moon cycle. Like the fool, Kameswari opens the new cycle with a little step in the dark, but her foot is a fiery one and brings forth the first ray of lunar light into the darkness. 

Looking at the image of the Thoth Tarot 

We can see here that our humble fool looks very prepared and awakened (the tiger biting his leg and the Aten shining in full power in his Yesod) for the cycle ahead of it. Crowley’s fool looks fiercely ahead and smiles knowing that his first step will be taken with the blessing of Horus in his crocodile avatar – kenty-kht. 

The fool represents the primaeval spark from a solar explosion that initiated everything around its universe to move forward. We are moving in spiral cycles, every new cycle we spiralling deeper and further.

The dream I had the night of April’s fool was a very solar one, a blessed one. 

I was riding on a wild horse, which can suggest material wealth, happiness and contentment. According to Jung, dreams, are connected to our “natural force” of life and the horse, is representative of our own inner power.

A horse in a dream might symbolize freedom, energy, strength, endurance, stamina, power, but also hard work. It might signify male sexual energy and masculinity. Running horses symbolize freedom and the release of repressed energy.

The freedom to take the first step and move forward with no hesitations or regrets.