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Never Forget, Never Forgive.

I’m pretty sure this was written by the composer for a friend who fell in battle

Riding the Wod

My husband introduced me to this piece of music today. I have it currently on my Dionysos play list because, for whatever reason, it puts me in headspace to honor Him. Today I think I played the Nirvana version something like fifty times as I painted, and it was like riding wod. A friend said to me today that she was always afraid that if she became an artist (and she is, oh her work is beautiful), she would not be able to call the talent forth at will, and one day inspiration might leave leaving her a “one hit wonder.” I assured her that there were so many ways, so many techniques, for opening oneself up to that inspiration, that creative frenzy, to wod. It was just a matter of learning them. One of the ways that I often use is music. 

When I played this today, a day where I could barely walk — literally I had to be lifted out of a chair I was in so much agony because of my back and hips–the pain no longer mattered and there was only frenzy and color and the sound of spirits calling. I painted two things, powerful things all because I rode the music into the place from which wod flows and that music opened me up (1) 

I can ride the wod when I’m doing spirit work for hours. My husband once cut me off  after about seven hours of engaging the spirits (he did right — I hadn’t realized I’d gone into a deeply altered state. He helped me come back and get grounded again with minimal after effects). I can only ride it for an hour or two when it’s painting though. It’s a slightly different hue, a different taste, a different variety and I don’t yet have the stamina. Plus, paint has to dry and practically, it’s like having a tattoo. There’s that moment that one has to pee, or the tattoo artist goes out to smoke, and there’s a break. and the adrenaline and endorphins go away. Then starting up again really sucks. So I’m more mindful now, of the flow and rhythm of things. Everything is rhythm. 

Enjoy this clip of Cobain playing a song that dates back to the early 1800s. 

Notes: 

1. And I never, EVER liked Nirvana before. It was 99.999999% because one of my teachers fell apart and abandoned all responsibility to her students and working group when Cobain died. She just couldn’t handle it and I didn’t understand it then. She didn’t  know him. Why was she so upset? Now I realize she was a guitarist, a musician, and he was a guiding force in her lineage. 

General Update for August

Since passing my qualifying exams in May, co-organizing/facilitating an academic conference on Syriac studies, and then teaching a whirlwind five-week theology course over the summer term, I’ve been taking some time off. Of course, my idea of taking time off involves… well, work, just different kinds of work from what I normally do. 

Right now, I am participating in an art show in a lovely town in the Hudson Valley. I’ve shown my work both professionally and internationally before, but I took a break when I started my PhD studies, so this is the first serious show I’ve done since 2019. I had invitations but painting is very, very different headspace from academic work and I needed to focus on the latter fully. The curator of the show took a serious injury about two weeks before we were due to open, so I and several other artists are filling in for her for the month of August. This means hanging the show, gallery sitting, managing sales and records, and so forth. It’s not my first time at the rodeo but it is like having an unexpected second job dropped in one’s lap. I am, as they say in German, fix und fertig!

It’s nice to be painting again. Check out my Instagram (heathenliving) to see some of my recent work and a current still life in progress. I like taking progress shots and posted two tonight of a still life I’m working on. It fascinates me even now how a painting comes together.  

 I’ve also started to study classical guitar (I promised if I passed my exams, I’d do something new that I’d been thinking about for the better part of a year). I’m loving it, though my arms and hands hurt in new and amazing ways lol. I expected this though. The good thing about this isn’t just that I love the instrument, but that it allows me to connect with so many of my ancestors: the castrati and also the dancers that I honor (I honor my ballet lineage) – because it’s music and of course that dove tails with the world those spirits and I myself moved in at one time, my adopted mom who was a musician, and my great grandmother (maternal, biological) who was an opera singer and pianist. It’s nourishing part of me as well that greatly missed that world (in my case of ballet). I found a marvelous teacher who is very patient and very focused on proper technique and I’m having a blast. 

Of course, I’m reading German every day (I decided that this summer was going to be given over to studying German – I’ve gotten rusty). I need to add Greek and Latin to it as well (lest I lose them) so I’ve started just recently alternating days: German and Latin one day, German and Greek the next. So, I haven’t been totally ignoring my academic work. The term starts Sept. 1 and I’m teaching a Byzantine Theology class so there’s also syllabus prep and such. No rest for the weary or wicked or…something. Lol. 

On the spirit-work and devotional work side of things, I’ve been focusing extensively on the ephesia grammata. I was originally introduced to this family of spirits through a colleague years ago, but they never really clicked, especially since they were presented almost exclusively as useful for divination. I put the knowledge aside and never really did anything with them. Recently however, I and several members of my House received a cleaner re-introduction to these spirits and they’re fast becoming significant allies. This was unexpected and has been taking up a good deal of my time. It’s humbling to realize how much was taken from us in the period of conversion, how much was lost. The haunting process of bringing it forward once more, of opening doorways long forgotten, of restoring cultus and speaking again the sacred names, of taking up again the sacred contracts is awe-inspiring, and I am deeply grateful for the opportunity to take part in this process in whatever way that I have and shall continue to do in service and use to my Gods. 

Recently, I’ve also received an email from a reader asking if I was going to finish my Freya devotional. I’ve had this on a serious backburner since I started grad-school. The request was so fervent that I am moving it to the front of my devotional “to-do” pile. This autumn, I will work on and hopefully finish my novena book – part of my pocket-sized devotional series – to Freya. After that, I hope to do one for Sigyn. So, I ask patience. 

Finally, I’d like to recommend a TV series that my husband just introduced me to: “Reservation Dogs.” It’s a fascinating series set on a reservation in Oklahoma and focusing on a group of young people who are trying to find their way through the challenges of their lives. It’s so good!!! Best of all, it incorporates elements of spirituality and treats the indigenous spirits and customs with utmost respect. It’s refreshing and I highly recommend it. 

Musically, my teacher has me listening to the guitar work of H. Villa-Lobos, so I’ve been focusing mostly on that. I go between that and vengeance country LOL. I love this particular genre of country music. 

Lest I neglect books, I recently finished a fantastic history of ballet in Australia called Dancing Under the Southern Skies by Valerie Lawson. It was one of the best books on ballet that I’ve read in years. It has extensive chapters both on Anna Pavlova and Olga Spessivtseva – both of whom I honor as part of my professional lineage and it’s remarkably well researched. The book is a bit tough to find – it’s not available on amazon—but I got an inexpensive copy on abebooks just by chance. 

That’s it for me for the night. What books, music, movies, or tv do y’all recommend? I’m always looking for good recommendations and love learning what folks are enjoying (just please, no marvel movies. They’re banned in our home by common consensus both for misusing and misrepresenting our Gods and for the anti-theistic attitude at their core). 

Sunne

My husband sent me this song by the group Wolcensmen. It makes for a beautiful holiday song. I could totally see incorporating it into Sunwait.

Do any of you have particular songs that you like to play or sing for Yule? (Technically Yule goes through the New Year).

Pagan Author, Musician Andrea Haugen murdered in Kongsberg Attack

Among the victims murdered in the bow and arrow Kongsberg Attack on October 13 near Oslo, Norway was a member of the pagan community, Andréa Haugen (also known as Andréa Meyer, Andréa Nebel, and Nebelhexë). She was the author of The Ancient Fires of Midgard, which explored Northern Tradition spirituality and religion. She was probably most famous among the Pagan and Heathen communities specifically though for her impact in the music world as the creative force behind Hagalaz Runedance, which released six albums. While her last album under Hagalaz Runedance released in 2002, she would continue to work on musical projects afterwards rebranding herself as she explored new sounds and varying career interests. For many Northern Tradition followers at the turn of the millennium her music was something latched onto as not only fans of the sound, but as something that spoke to our religious pathway. My favorite song of hers was ‘Volven’.



Her life was one defined by creativity: she was a poet, scriptwriter, model, artist, and musician. Music is a common thread found throughout her life. She used to go clubbing with Depeche Mode’s Martin Gore, as well as Ringo Star’s daughter Lee. Eventually she found herself starting to work on a number of musical projects, some under her own auspices and some in conjunction with others. She was a vocalist, played various instruments, and even ended up owning a club at one point too.

She is survived by her daughter, Alva (the subject for the song of the same name released on Hagalaz Runedance‘s Volven album).

I think in memoriam I’ll leave you with her song to ‘Hel, Goddess of the Underworld’ and from the lyrics this seems appropriate: “Hail, to the queen of death. Her shadow walks with you.”

New Song by Wardruna

In collaboration with Frikar. The song is titled “Andvevarljod.”

A Fantastic Find and I’m Going to Brag

I don’t usually share things like this, but I am so excited about a recent acquisition that I cannot help myself. Y’all know that I venerate the castrati as a family of ancestral spirits (yes, I know, but it doesn’t matter that they’re not technically my blood ancestors; I love them and they are spiritual ancestors for me). Well, being the tactile person that I am, when I am learning how to honor and engage with a new family of spirits, it often helps to have physical objects. If I am learning proper veneration to a new Deity, I’ll set up a shrine for the same purpose(1). If I’m engaging with an animal spirit as a spirit worker, I want a tooth, claw, or bit of fur, and likewise with my ancestors whenever possible, I like to have a photo or some item that belonged to them. Is this a bit reductionist? Yes. Is it absolutely necessary? Not at all, and in fact, I’ve been honoring the castrati both as a group and as individuals for close to a decade now without having anything approximating a physical object, unless one counts the music they once sang. 

Well, today I can happily say that I now own a scrap of music handwritten and signed by one of the last of the great vocal castrati: Girolamo Crescentini (1762-1846) (2). He was equally regarded as a singer, teacher, and composer and what I acquired today was a bit of music written by him for a correspondent or friend (It is unclear from the provenance for whom he originally wrote the piece). Crescentini was a favorite of Napoleon, (who otherwise despised castrati) who knighted him in 1809. 

What is pictured here is an autographed six bar musical quotation of an arietta, in Crescentini’s own hand. Since he signed it ‘cav. (cavalier) Crescentini,’ we know it must have been written after 1809. There is a little note: Due note sol da mi fibra mi! Assai di piu assai di pire tene do no (You wish to receive just two notes from me, I give you more and more of them). Signed: carattere, e compisizione del Cav. Crescentini (Character and composition of Cavalier Crescentini). 

 I never expected to find something like this and in fact, last year I had an antique dealer who specialized in autographs and musical scores tell me it was nearly impossible to find anything written or signed by the castrati (a Meissen teapot owned by Senesino (1686-1758) came up for auction last year, I believe, but it was way, way, WAY out of my price league omg). I do have a couple medieval manuscript leaves. I pick up inexpensive ones here and there, usually at the medieval conference at Kalamazoo – their book room is heaven and the MSS dealers always have at least a bit priced low for grad students–because they are helpful when I teach. I find students become really engaged when they can actually touch a piece of history and hold it in their hands. It brings it alive like nothing else. None of leaves approach this 5.24×6 inch scrap of music. This is a personal connection to a family of spirits, to one particular spirit that I never, ever, ever expected to find and I am grateful to the Gods and ancestors that I happened to stumble across it (and that it was both relatively inexpensive – it’s small—and within my budget). 

Look. Look at the pretty thing. ^___^. (I’ve very inexpertly blurred my address bc I liked the photo and didn’t want to pull everything out to take it a second time when I realized my home addy showed).

musical notation, inscription, and signature of G. Crescentini. Personal collection of G. Krasskova

  1. At least, that is part of the purpose. The other part, of course, is that this is a space for veneration and a visual sign of welcome for that Deity into one’s home and life. 
  2. The very last of the great operatic castrati was Giovanni Velluti (1780-1861), a younger contemporary of Crescentini. 

Days 2-4: A Week of Honoring the Dead

This will be short, because today is a very full day of rituals. We honor the Aventine Triad every full moon, various vaettirand the fair folk receive offerings, and we’re also going to be going our ancestor ritual tonight AND making special offerings to Mani (separately). Today will be hopping and I’m just starting to get myself ready to go out to make the first of the offerings. 

To give a quick recap, on Thursday, we did a rite to honor our Disir, our female dead. That was unexpectedly moving. It’s funny, because I always find the Disir to be somewhat more protocol heavy than male ancestors, yet despite wanting us to “dot our I’s and cross our t’s,” as the saying goes, they always seem to dig deeply down into our hearts and wrench out raw emotion. Also, there are things the male dead wanted, certain prayers, in which the women had almost no interest. It was interesting to note the flow of things. Yesterday, we made offerings outside to the wandering dead, those who have no one to honor them, and also to our Gods of the dead and the Underworld. Tonight, we’re doing a ritual to honor our collective dead. Tomorrow, we honor our sanctiand martyrs, and then the day after, we visit cemeteries and then that marks the end of our ancestor days. Tuesday after I go vote, I’ll be taking down the offrenda. (As an aside, this year I decided to use a ton of battery operated candles and I love it. While it doesn’t do anything for cleansing and purifying a space – for that one needs actual fire – it does allow me to keep memorial light going throughout this entire week and that has been lovely. I may keep one on my ancestor shrine always lit from here on out). 

One of the ways that I often prepare before ancestor rites is to listen to certain songs that have the ancestor rhythms. Certain rhythms call the dead like nothing else and that music will take me down into an altered state very, very quickly. It makes for a particularly nice transition out of mundane headspace and into ritual space for me. Here are two of my favorite. It’s nearly the same rhythm, but the second is harder, more driving and gives one a much harder drop into altered headspace. Anyway, I’m off to prep for rituals. See y’all on the other side. 

Very Odinic Song