RdY.
First I want to check with you that the following academic bio material is
correct. Please feel free to update or add anything you believe is relevant.
Also, can you please tell me where you born, where you grew up, and where you
currently live.
CT. I was born and grew up in
a southern suburb of Melbourne, Australia. I moved out of the family home in
1984 and from 1985 to 1988 I went “Back to the Earth” and lived in a rural
location outside the town of Castlemaine in Central Victoria (Victoria is the
state that Melbourne is the capital of). I have subsequently lived in various
inner-city locations within Melbourne and currently live in a northern
inner-city suburb called Carlton.
I am an Honorary Fellow
in the School of Historical and Philosophical Studies at the University of
Melbourne. I have a Bachelor of Arts in Fine Art from Monash University,
Graduate and Postgraduate Diplomas in Classics and Archaeology and a PhD in
Aegean Archaeology from the University of Melbourne. From 1996 to 2010 I worked
as a professional tapestry weaver at the Australian Tapestry Workshop, during
which (from 1999 to 2005) I also worked as a feature writer, reviewer and news
and events editor at Australia’s Witchcraft
Magazine. I returned to university study in 2004, started PhD research in
2009 and was awarded my Doctorate in 2017. My PhD, which is on tree worship in
the Late Bronze Age Aegean and East Mediterranean (primarily Crete and mainland
Greece, with comparative material from Cyprus, the Levant and Egypt), is
currently in press with Peeters Publishers and due out this year. I also work
on the reception of the ancient world, particularly the ways in which ancient
Egyptian and Minoan (Bronze Age Crete) religions have been interpreted by late
nineteenth century British magicians such as the Hermetic Order of the Golden
Dawn and their spiritual heirs, the 20th and 21st century
ceremonial magicians, witches and Pagans.
RdY.
Because this is for a Pagan news website, please provide a brief spiritual bio:
How do you identify your spiritual path – Pagan, Witch, Wiccan or something
else? Was there an “a-ha” moment when you discovered your path, or was it a
slow evolution?
CT. I identify as a Witch
(magick worker) and a Pagan priestess (religious officiant for the gods of
Egypt, Greece and Rome). I guess it would be accurate to call me a Theurgist,
as within ritual I seek to evoke the presence of the gods and to unite with
them. I first discovered magick while looking in a friend’s occult library. I
was from a Catholic background, which I had rejected when I was 16, and had not
subsequently been interested in anything religious or supernatural – or so I
thought. I’d just finished Year 12 at school and instead of going to university
I started studying ceremonial magic, then later on Pagan Witchcraft. I was
initiated as a Witch in 1985 by a priest called Argetlam, later that year I
moved to the county and that’s when I met Wiccans and Pagans and got introduced
to the alternative lifestyle and festival scene. Rural living was a formative
experience for me, particularly in regard to observing the lunar and solar
cycles and studying herbalism. I moved back to Melbourne in 1989 in order to do
a textile course and shared an apartment with another Witch who was a
Naturopath. In 1991 I showed a copy of Green
Egg magazine to my Pagan friends, Anthorr and Fiona Nomchong, and they were
inspired to join the Church of All Worlds. I did not think there was much point
in joining because it was an overseas (American) organisation, but my friends
thought it was important because of the possibility of getting Pagan legal
recognition in Australia by incorporating as a foreign religious organisation. So
I joined their Nest (Draconis Nest in Canberra), later formed another Nest
(Primeval Soup Nest in Melbourne), and was initiated up to 5th
Circle Scion. In 1993 I joined the Ordo Templi Orientis (OTO). I was already
familiar with Aleister Crowley and Thelema, but I was interested to see what
the OTO was like. I was an active member from 1993 to 1997, and then again from
2004 to 2006. Once an OTO member always an OTO member, even if your membership
fees lapse, so I guess I am still a member.
RdY.
Please provide a glimpse of some of your Pagan (non-academic) publishing
credentials: magazine articles or books that you have written for or edited.
CT. I started writing for
Pagan magazines in 1986 with Shadowplay
magazine (eds. Rhea Shemazi and Liam Cyfrin), mainly because I was enthused
about communicating with like-minded people – remember it was all hard copy
magazines and letter writing back then. I’ve written for many Pagan
publications including The Cauldron, Pagan Dawn, Green Egg, The Beltane Papers,
newWitch, Witches & Pagans, Pentacle;
I worked for Australia’s only glossy (and paying) Witchcraft Magazine for 6 years; and I’ve got chapters in several
Pagan anthologies including Celebrating
the Pagan Soul (ed. Laura Wildman), Pop!
Goes the Witch (ed. Fiona Horne); Practising
the Witch’s Craft (ed. Douglas Ezzy); Priestesses,
Pythonesses and Sibyls (ed. Sorita D’Este); and Women’s Voices in Magic (ed. Brandy Williams), among others.
RdY.
Your bio above mentioned your work as a professional tapestry weaver. Please
provide a brief artistic bio: Do you still pursue-do art? And if so, what
forms/genres?
CT. I’ve always liked making
things. Just before I moved to the country in 1985 I learned spinning and
weaving, and when I was there I did lots of that. I also studied Wool Classing
at a local technical school because I planned to have some coloured sheep and
thought it would be useful to know more about wool. I got very distracted by
that course, especially when they started hiring me to work in shearing sheds.
I did not really want to work in the wool industry, but seeing as I was getting
paid I thought I may as well. Eventually I got back to the craft aspect of wool
and after another technical school course in Studio Textiles (spinning,
tapestry and handloom weaving, dyeing, fabric printing, design, photography,
etc), and then a university course in Fine Art (tapestry weaving, print making
and life drawing), I was hired by the Australian Tapestry Workshop. At the
workshop we mainly worked on large scale tapestries for public places such as
galleries, museums, and foyers of public buildings, as well as smaller scale
work for private homes. We also had exhibitions of the weavers own work. Many
weavers have their own practice alongside their work for the Workshop, but it
is a physically demanding activity and so when not at work I would do a small
amount of tapestry but mainly paper collage or linocut printing. These days I
am more an art historian than practising artist, as my PhD research was on
images of tree worship on gold rings and in fresco paintings from Minoan Crete.
I do maintain an interest in textiles, however, as I also study Minoan
garments. It’s really just a case of not having as much time to do these slow
craft activities as I used to.
RdY.
Pomegranate submissions are peer-reviewed. Please provide a brief discussion of
what that entails. Also, the journal website reads: “The Pomegranate considers submissions
from both established scholars and research students.” I’m hoping you can
clarify what is meant by “research students” – does that mean someone has to be
enrolled in an academic institution? Or could I or anyone qualify as a research
student if I cite (only) scholarly publications in a submitted article?
CT. “Peer-review” means that
an article submitted to an academic journal, such as The Pomegranate, will be sent out to (usually) two reviewers who
are experts on the topic that the article is on. An editor of a journal or book
featuring a collection of different scholars’ work is not going to be the
expert on every topic that the different scholars write about. So in order to
assess the articles people submit, the editor sends them out to people who are
experts in the topic covered by a particular article. For example, if I write
an article for a journal about Minoan tree worship, the editor will send that
to some peer reviewers to be evaluated. One reviewer might be an expert in
Minoan art and the other might be an expert in Minoan shrines, and they would
both have extensive knowledge of Aegean archaeology. These reviewers would
assess the quality of my article in order to ensure that my research is
rigorous, coherent, and builds upon past research in order to expand the field
of knowledge about Minoan tree worship. Peer-review is often “double blind”
which means that the reviewers do not know the identity of the writer, and the
writer does not know the identity of the reviewers. This is so that there can
be no favoritism or prejudice and the work is assessed only on its scholarly
merits, not on the identity of the author. Sometimes the editor of a journal
will know immediately that a certain article is not suitable, for example, the
topic may not fit the scope of the journal or it may be badly written and
researched. If an editor thinks an article does fit the journal then they send
it to the reviewers who decide whether the article should be accepted as it is;
accepted after applying changes recommended by the reviewers; or rejected. An
author does not have to do what the reviewers recommend, they can argue against
it, or they can take their article elsewhere, but peer review usually provides
very helpful advice that when applied significantly improves your article.
In the guidelines for
submitting an article to The Pomegranate
where it says that the journal considers submissions from established scholars
and research students, that means that as well as scholars who have many years
experience working in their field of research, have authored books and articles,
and may have a tenured position at a university, students may also submit
articles based on their research. The term “research students” usually means
Masters or PhD students. A contributor need not be associated with a university
as staff or student, they may be an independent scholar, but that usually means
that they have been to university and/or understand the requirements of
academic scholarship and writing. The
Pomegranate sometimes publishes pieces that are not peer-reviewed as well,
and there is room in this special issue for a fashion journalism article.
RdY.
Please include here the exact call for submissions for the upcoming issue on
creative expression. Also, what is your role with Pomegranate? I don’t see you
listed on the website’s editorial board section.
CT. I’m not on the editorial
board of The Pomegranate but the editor,
Chas Clifton, who I have known for quite a few years, approached me to guest
edit this special issue on Pagan Art and Fashion because he thought that it
fitted with my interests. It was actually Chas’s idea to do a special issue on
this topic but as the guest editor, I designed the call for papers and I am generally
liaising with potential authors and receiving the proposals and articles. There
are many topics that could be written about for this issue, but I had to make
the call for papers a reasonable size, so I condensed it down to the following:
CFP for a special issue of The Pomegranate on Pagan Art and Fashion
A beautiful young
woman drapes her long auburn hair over a human skull, pressing it close to her
face like a lover. Another, clad in black and holding a wooden staff, poses
like a model in a photo shoot on location in an incongruous forest. Long,
elaborately decorated fake fingernails like talons grasp shiny crystals,
evoking the “just so” beauty of a staged magazine spread. In the world of the
Witches of Instagram, the art of photography meets business witchery and
feminist activism.
Is it (still) the
season of the witch? Luxury fashion house, Dior, has a tarot-themed collection;
witchcraft featured in recent issues of Vogue
magazine; young witch-identifying women perform “fashion magic”; and an
alchemist-fashion designer has invented colour-changing hair dye, inspired by a
scene in the 1996 movie, The Craft.
An angry yet luxurious sex-positive feminism is in the air; goddesses, witches
and sluts are rising up again, a decade and a half after Rockbitch stopped
touring and almost thirty years after Annie Sprinkle’s first workshops
celebrating the sacred whore.
Exhibitions
showcasing the work of living and dead occult artists have been on the increase
for several years now, most recently Black
Light: Secret Traditions in Art Since the 1950s at the Centre de Cultura
Contemporà nia de Barcelona, and Barry William Hale + NOKO’s Enochian
performance at Dark Mofo in Tasmania. Multidisciplinary artist Bill Crisafi and
dancer Alkistis Dimech exemplify the Sabbatic witchcraft aesthetic; Russ Marshalek
and Vanessa Irena mix fitness and music with witchcraft in the age of the
apocalypse; DJ Juliana Huxtable and queer arts collective House of Ladosha are
a coven; rappers Azealia Banks and Princess Nokia are out and proud brujas; and
singer Lana del Rey admits hexing Donald Trump.
The Pomegranate: The International Journal of Pagan Studies invites submissions
of articles (5000–8000 words) for a special issue on Pagan Art and Fashion,
edited by Caroline Tully (caroline.tully@unimelb.edu.au). How are Paganism,
modern Goddess worship, witchcraft and magick utilised in the service of
creative self-expression today? Potential topics might fall under the general
headings of, but are not limited to, Aesthetics, Dance, Fashion, Film and
Television, Internet Culture, Literature, Music, and Visual Art.
Submissions due June
15, 2019.
For information on the submission
process see here.
Please note that The Pomegranate: The International Journal of Pagan Studies uses
the University of Chicago Press notes-and-bibliography citation style.
RdY.
On to the upcoming issue: What was the inspiration to do creative expression as
a theme? Again, was there an “a-ha” moment, or was it a confluence of factors?
(See below for related or perhaps redundant questions.)
CT. I think Paganism is
inherently creative because of its this-worldly, rather than other-worldly,
focus. There is a wide spectrum of aesthetic expression that manifests in the materiality
of Paganism; in the ritual objects we use, the way we design rituals, our robes
(or lack thereof), direct – bodily – contact with deities, ecstatic expression,
sexuality, and the general artistic legacy of all forms of ancient pagan
religions that we are able to draw upon in order to create our religion and
rituals. However, the initial impulse to create this special issue came from
the creativity, often aligned with business savvy, of Witches on Instagram; the
sex-positive feminist collective website, Slutist.com; and the fact that
Witchcraft was appearing in high fashion contexts such as catwalk collections
and featuring in magazines like Vogue.
Witchcraft has become glamorous – and I’m not talking about its traditional
faerie glamour, but fashionista glamour. Bloggers, Peg Aloi (“The Young Ones:Witchcraft’s Glamorous New Practitioners”), and Thorn Mooney (“The HipsterWitch: Aesthetics, Empowerment and Instagram”), have already noted that this is
a new kind of Witchcraft, less focussed on deities, Pagan history and community,
and more focussed on self-care and characterised, to quote Mooney, by “a strong
entrepreneurial streak”. These Witches are also politically active, more multicultural
than Paganism has traditionally been, and read magazines like Sabat and Ravenous, and books like Kristen J. Sollee’s Witches, Sluts, Feminists: Conjuring the Sex Positive. This issue
of The Pomegranate is interested in
research on these new slick Witches – who are they? Are they really so new
after all? What does it mean for Witchcraft to be so distinctively stylish?
But there is a lot more
to Pagan creativity and aesthetics of course. Pagan fashion does not have to
actually be “fashionable”. Paganism is often distinctly anti-fashion – and who
are the arbiters of Pagan taste anyway? The Goddess Movement liberated women
from the strictures of fashionable 20th century bodies by focusing
on female forms that were fashionable in other eras – look at the Paleolithic and
Neolithic “Venuses”. And it’s not just about female empowerment; Heathenry and
other Reconstructionist-type Paganisms have distinctive material aesthetics in regard
to clothing and sacred objects. What about the sartorial choices involved in
wearing the colour black; the Goth, rainbow, or hippie looks; pointy hats, moon
crowns, regalia, nudity, or robes? In regard to visual art, can we identify a
distinctive style of Pagan illustration? – think of all those years worth of
hard copy Pagan magazines, Neil Geddes-Ward, Naomi Lewis. Tarot design is
another locus of Pagan illustration. What about Pagan sacred sculpture? –
Oberon Zell’s famous Gaia Earth Mother statue; reproductions of ancient
sculpture such as the Minoan Snake Goddess, Triple Hekate, or the relief on the
Gundestrup Cauldron. Twentieth century painters Norman Lindsay and Rosaleen
Norton identified as Pagan. What about Ithell Colquhoun, Austin Osman Spare, Marjorie
Cameron, or Vali Myers? Performance artists such as Ana Mendieta, Betsy Damon,
Carolee Schneeman and Oryelle Defenestrate use Pagan iconography. There really
is a lot of Pagan art and fashion.
RdY.
It seems so much of the transmission of contemporary Pagan culture is still
through nonfiction books and writing, with festivals also prominent and perhaps
movies and TV shows, however fictionalized, being a distant third. That’s just
a quick off-hand assessment by me. I think most modern Pagans and Witches could
name 20 Pagan authors of nonfiction right off the bat (the how-to books and the
spell “recipe” books), and some Witchy films and TV series, but would have
trouble naming more than two or three truly Pagan painters, fiction writers,
musicians, fashion designers (are there any?), etc.
CT. Well, there is an amazing
young fashion designer called Lauren Bowker who has a company called The
Unseen. She is a Witch and Alchemist and has invented, among other things,
clothes that change colour in response to pollution, a hat that changes colour
according to activity in different parts of the brain, and colour-changing hair
dye. Another fashion designer, Pia Interlandi, is not actually Pagan but may be
of interest to Pagans because she designs garments for the dead to be buried
in. Then there are “fashion witches” such as Gabriela Herstik, who describes
herself as “combining spirituality, style and storytelling.” As for painters,
fiction writers, and musicians, well, Sharon Knight is a Pagan musician, Wendy
Rule is a Witch and musician, the young visual artists may be a bit less
well-known but include Athena Papadopoulos, Georgina Horgan, Issy Wood, Sophie
Jung, Linda Stupart, more well-known would be Sarah Hannant and Genesis P.
Orridge. Then there are artists beloved by Pagans such as H. R. Giger, and many
of the female Surrealists, such as Remedios Varo, utilised iconography that
appeals to contemporary Witches. Fiction, well, of course books like Robert
Heinlein’s Stranger in a Strange Land
was the basis for the Church of All Worlds, occultists like Gerald Gardner and
Aleister Crowley wrote fiction, and the work of writers Kenneth Grahame and
Rudyard Kipling have influenced contemporary Paganism.
RdY.
How important or prominent is creative expression, as opposed to nonfiction
writing, in Pagan culture today? Have art, fashion, TV, movies and music had
more influence than perhaps the Pagan community realizes? Is their impact more
palpable than I surmised above, yet hidden and subversive?
CT. Pagan music has been
influential for a long time; whether that is music that Pagans like, for
example, Jethro Tull, or music that is utilised within ritual and festival
settings such as chants and other overtly Pagan music. I think that TV and
movies are very influential – The Wickerman is obviously a classic, and in the
1990s Buffy, Charmed and The Craft really did have an influence on young people,
later it was American Horror Story: Coven. Visual art and fashion may have had
a more subtle influence, perhaps because we have not thought much about them,
because they are just “there” – although certainly individual artists who are
or seem to be Witchy, such as Vali Myres, do get lauded. When making the
initial foray into Paganism the seeker is not usually advised to go and look at
paintings or clothing, their first recourse is to books and workshops. I think visual
art and clothing have a different kind of influence to nonfiction books,
particularly in the construction and performance of the Pagan self. For
example, adopting black and wearing conspicuous occult jewelry makes a visual
statement of Witchiness using well-known iconographic tropes that even the
non-Pagan public recognise. Now with the ubiquity of the internet, which is
like a huge global television, curating a fabulous Pagan or Witchy persona through
visual means on a social media platform is like getting media attention but
actually has a more far-reaching effect. Contemporary Paganism has been getting
media attention since the 1950s – but with the internet you aren’t dependant on
attracting the interest of a journalist; you can style your own shoot at your
own convenience, photograph it yourself, make yourself look absolutely
fabulous, upload the best photos and distribute your image – or brand – to a
global audience. And here we are back again at the topic of Instagram Witches.
RdY.
As the transmission of culture continues to shift from print to digital, how
significantly has that affected the importance of creative expression in Pagan
culture today as opposed to that of the past, when books by Starhawk, Sybil
Leek, the Farrars and Raymond Buckland ruled the roost?
CT. Well, I think, again, I’m
going to have to mention the Witches of Instagram. As noted by Aloi and Mooney,
Instagram Witches are writing books – but they are not publishing with the
traditional publishers such as Weiser or Llewellyn – and they direct their
books to their Instagram followers. It’s no wonder many of us older Pagans who
are not on Instagram have never heard of them. Or they are writing for online
magazines such as Vice and Broadly or more specifically Witchy ones such as
Sabat, or being interviewed on podcasts such as The Witch Wave. It is a
different world, because so many people have phones that they are sourcing all
this stuff through. They don’t even need to buy hard copy books.
RdY.
Conversely, as you noted in the portion of your call for submissions that I saw
on The Wild Hunt, Pagan “memes” are infecting the culture at large as never
before. What are some of your take-aways from this phenomenon?
CT. I think this has a lot to
do with a combination of three things that are (or have been) very much in the
media and therefore in popular consciousness: 1. the excitement of magic as
conveyed by the Harry Potter books and films (with the Lord of the Rings films
coming a close second); 2. the morphing of feminism back into a very visible political
activist movement by a new generation of women and men who identify with the
figure of the Witch as a powerful Other; and 3. the increasing awareness of
environmental degradation. These have been characteristics of Paganism for
decades, and now people in general society are starting to see that they are
valuable. I am reminded of back when solar power and recycling were considered crazy
hippy activities, but now they are understood to be important and even
governments approve of them.
RdY.
A final matter: Please talk about the impact and importance of Pomegranate
itself. What is the importance of having a peer-reviewed academic journal
focusing on Paganism? During my newspaper career, editors would tell us
reporters/writers to ask ourselves the question: “Why should our readers care
about this story?” As a tangent of that, why should the everyday Pagan care
that Pomegranate exists?
CT. The
Pomegranate
began as a scholarly but non-peer reviewed journal in 1996 with the sub-title,
“A New Journal of Neopagan Thought”.
Its founders, Fritz Muntean and Diana Tracy, intended it to be a scholarly
venue for the critical examination of Pagan beliefs and practices (the term
“critical” meaning analytical rather than negative assessment). They published
18 issues between 1996 and 2001, then the editorship was transferred to Chas
Clifton and from 2003 it has been published by Equinox as an international,
peer-reviewed journal. The reason The
Pomegranate should be of interest to all Pagans, not just scholars of
Paganism, is because of the fascinating content of the journal. A quick look on
the website under the Archives tab (on the far right) shows all the issues and looking
at the articles and book reviews gives an idea of just how broad the umbrella
term “Pagan” is and how interesting. (Some content is free while most requires
a subscription). Pagan Studies scholars come from various academic backgrounds including
religious studies, theology, history, sociology, anthropology, folkloristics, archaeology,
and gender studies. While some scholars who write for The Pomegranate are also Pagans themselves, many are not and what I
think is really exciting is that scholarly research about Paganism gives us a
really fresh and thought-provoking view of our beliefs and practices as seen
from the outside. Scholars of Paganism often notice and examine things that we
do not see ourselves, they are also more likely to question and analyse aspects
of Paganism that practitioners may not. Even scholars who do
participant-observation of Pagan groups (studying them from the inside) show us
Paganism from other, sometimes unexpected, angles. The academic study of
contemporary Paganism has been going on for decades, beginning with scholars
such as Marcello Truzzi, Aidan Kelly, Margot Adler and Tanya Luhrman, although
it coalesced as a discipline in the 1990s through the work of Graham Harvey and
Chas Clifton. Even if Pagans don’t actually want to read scholarly work, I
think it behooves us to at least know what is going on within Pagan Studies. Academic
study of Paganism strives to be impartial and thorough, and this is why I think
that The Pomegranate, and Pagan
Studies in general, deserves the interest and support of the Pagan community.
