The Faery Tradition
an interview with Andraste by Leah Samul
reprinted from the Compost Newsletter
Q: Each different tradition in the Craft has its own distinguishing
features; what is it about the Faery tradition that makes it different from
other traditions in the Craft?
A: Fifteen Faery tradition practitioners met in June of 1988 to discuss
this and other questions. What they agreed upon as Faery Tradition
essentials comprises the following. Many of these features can be claimed
by other traditions as well, and various Faery practitioners may accent
some of these more than others.
A belief in a particular Faery Power which can be accessed characterizes
the lineage, which exists as an ecstatic, rather than a fertility,
tradition. A strong emphasis is placed on sensual experience and
awareness, including sexual mysticism, which is not limited to heterosexual
expression. In this, as in the general spirit of a spiritual exploration,
there is more risk-taking encouraged than in other Wiccan traditions which
have specific laws limiting behavior, and there is a certain amorality
historically associated with the Tradition. We see ourselves, when
enchanted, as "fey"--not black, not white, outside social definitions, on
the road to Faeryland, either mad or poetical. We are aware that much of
reality is unseen, or at least has uncertain boundaries. As in all the
Craft, there is a deep respect for the wisdom of Nature, a love of beauty,
and an appreciation of bardic and mantic creativity. There is a specific
corpus of chants and liturgical material, much of it stemming from Victor
and Gwydion, which provides a frame for Circle-workings, but poetic
creativity is highly valued. The practice is heavily invocatory, with
encouragement of deity possession, which relies mainly on psychic talent or
sensitivity to occur, rather than the existence of a specific induction
technique. Rites are stylistically diverse, and may draw from many
sources.
There is an initiatory lineage, traceable to Victor, Cora, or Gwydion,
although Victor tells of antecedents of the present tradition in the coven
in which he was involved in the 1920's and 30's in Oregon. Aspects of the
tradition are possession of secret names, the practice of energy-working
using the pentacles, a body of poetic and liturgical material, information
on the Deities; many archetypes are recognized which are specific to the
Tradition, the doctrine of the Three Selves, a cingulum of a specific
color, a "tribal" or "clan" feel to the coven, the use of the horned
(sometimes called "inverted") pentagram, and to some extent the honoring of
a warrior ethic, rather like bushido. For example, we are urged not to
coddle weakness, support others in insincerities or self-deceptions, and
never submit one's own Life force to anyone or anything, ever, which leads
to a fierce openness called the "Black Heart of Innocence."
Perhaps what has gained the most attention is that the Faery Tradition is
gender-equal, and all sexual orientations seem to be able to find a niche.
For many, there is a strong identification with the realms of Faery and
with shape-shifting.
Q: Many members of the Craft would freely admit that modern day Witchcraft
has been "put together" from a variety of sources by the leading members of
the individual traditions. Gerald Gardner, Raymond Buckland, and even
Starhawk have definitely created traditions that bear their own individual
stamp. Do you think this is true for Victor Anderson in the Faery
tradition? Or more pointedly: is there a Faery tradition separate from
Victor Anderson's own writings and influence? Are there other visionaries
in the Faery tradition besides Anderson? How much of the Faery tradition
do you think that Victor Anderson "made up" by welding ancient sources to
his own personal vision?
A: Although Victor is universally recognized as the founding teacher of the
tradition, it is possible to identify influences which shaped the tradition
before its present form evolved. There is a strong African diasporic
influence, primarily Dahomean-Haitian, and the Three Selves theory is an
outgrowth of Huna, as described by Max Freedom Long. Further, there are
elements from fiction, including Robert E. Howard, H. P. Lovecraft, and the
Necronomicon. Neither is Victor the only source for material presently
within the tradition. Each initiate seems to draw the tradition in a
somewhat new direction and uncover new ground. According to Gwydion, the
early Faery Tradition had much in common with the published materials of
the Farrars' accounts of outer-court Gardnerian/Alexandrian rituals. I
have not seen this today. Some practitioners, such as Gwydion and Eldri
Littlewolf, went deeply into shamanic forms. Gwydion also worked
extensively with Celtic religion, even learning Welsh, as did Gabriel (né
Caradoc) in the early part of his Wiccan training.
Other influences entered as Gabriel began teaching: Arica training,
Tibetan meditation, and a modicum of Ceremonial Magick are all elements.
According to Eldri, Caradoc has written some beautiful poetry, both ritual
and otherwise, but I have seen little of it. Gabriel's classes are one of
the best extant trainings in magical visualization I have encountered.
Brian Dragon and members of his lineage have contributed darkly powerful
poetry and ritual liturgy, though he was "excommunicated" from the
tradition by Caradoc, his initiator, with Victor's assent. This
excommunication is not recognized by all members of the tradition. Though
there is much borrowing, a central vision is maintained, and this has grown
as liturgical material has been amassed. More recently, initiates such as
poet Francesca Dubie and songwriter Keara West have added their inspiration
to the corpus of material. Since many of the present day initiates have
had minimal direct exposure to Victor's presence, and Thorns of the Blood
Rose is often out of print, there has been less reliance on Victor's
teachings than in earlier days, when Gwydion studied with him for many
years, starting at the age of thirteen. Aspects of Victor's practice, such
as the African-diasporic tradition, are being strengthened and re-woven
into the tradition by initiates with cross-training and initiations in
Santeria.
Starhawk has used elements and concepts developed in the Faery
Tradition in expressing her beliefs and practice, and in many cases has
given the world some of the clearest explanations currently available of
concepts such as the Three Selves or the Iron Pentacle.
Q: Looking at the modern day Craft, it seems that there are two main
points of focus or approaches to it: one is the shamanic approach, the
other is the ecological approach. For example, many covens are active in
non-violent action involving the fate of the earth. It seems to me that
the Faery tradition is quite shamanistic. Is it at all concerned with the
ecological focus that one sees in other branches of the Craft?
A: As the question is posed, I'm not entirely certain what you mean by
"ecological" versus "shamanistic" approaches, and I have interpolated that
you mean the distinction between political approaches to magickal activity
and religio-magickal approaches. It's hard to answer in general terms for
the tradition as a whole, since this topic becomes a spectrum of
motivations for magickal workings, rather than a strict dyad between
political and religious. Individuals will naturally range themselves along
the spectrum, according to their wills and karmic tendencies. Also, the
people with whom I prefer to work tend to share my perspectives, and will
color my impressions. I wouldn't say someone is not a Faery Tradition
practitioner because s/he supported or didn't support a particular
political stance. Victor and Starhawk, for example, became estranged over
politics and particularly over the issue of nuclear power plants and
nuclear research. Political magick of the Reclaiming or Earth First! type
often makes "traditionalist" witches uneasy, but this is probably more of a
challenge to their political worldview, than a critique of magick as a
tool.
Other than the Reclaiming branch of initiates, it is probably safe to say
that many of the current practitioners are not openly politically active in
demonstrations, civil disobedience, and so forth. But this does not mean
that the focus of their magick, or the content of their communications are
any less political or even less radical. Politics and religion are not
mutually exclusive. The environment is a focus for magickal work
throughout the Pagan movement, and the Faery Tradition is no exception.
For most of us, our politics grow out of our spirituality, and the
mysteries we have experienced, rather than vice-versa.
Q: What is your sense of the place and direction of the Faery Tradition
within the neopagan movement?
A: Gods are not just
constructs or psychological forces from the collective unconscious. The
Gods are real, with a system of morality different from our own, and we
have a responsibility to them. The Faery Tradition, in common with
initiatory lineages of the Craft which practice possession, is a mystery
tradition of power, ecstacy, and direct communication with divinity.
This is in contrast to traditions which practice psychodrama or
psychotherapy through ritual. The negative side of this (the Faery) style
of working is that we have a lot of initiates who might be classed as
"burnouts", who did not return unscathed from between the worlds. the
tradition is not for everybody; it is certainly not amenable to mass
attendance, like many other Pagan paths. Gabriel has been trying to evolve
an outer court and a system of degrees in what was originally a one-degree
system. There are more interested seekers than openings with teachers.
Q: If you had a "wish list" for the future of the Faery Tradition within
the Neo-Pagan movement, what direction would you like the Faeries to go in?
A: I would like to see a rejoining and sharing among the many "lone-wolves"
making up the tradition. It would be nice to able to learn from one
another, to discuss liturgy and magickal techniques, and to cast off the
divisions and old feuds that kept our elders from functioning well
together. I would like to see the cultivation of high standards of
teaching, ritual practice, and ethics. I would like to see some more of
the solitaries starting to teach.
More about the Faery (Feri) tradition