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Sign: "Emergency Shut Off Valve" Many prominent Pagans are now talking about consent culture and how to make Pagan spaces safer. It particular, I would recommend Christine Kraemer's Consent Culture 101: Basic Practices and Teaching Games, Yvonne Aburrow's Silence equals complicity: making Pagan groups safe for everyone, Shauna Aura Knight's Harassment and Boundaries, and especially Stasa Morgan-Appel's Some Experiences with a Culture of Consent and Radical Inclusion.

To me, a culture of consent means that activities only happen with the enthusiastic consent of all participants. It is where lack of enthusiastic consent is sufficient to stop an activity and seek better communication; a spoken "no" is not necessarily required. And it goes beyond sex and even beyond touch and into all interactions so that games and activities, religious rituals, and even conversations are all based on consent. If we establish an expectation for seeking consent in all things, maybe it will be easier for all us to create and respect boundaries in more challenging areas such as sex.

At a Pagan event, I was in the washroom with someone with whom I generally get along and she made a comment that I didn't want to engage with. I said "I don't want to get in the middle of that". She had started towards the exit as we talked and she then stopped in front of the door, blocking it, holding the handle, and proceeded to rant at me. It was brief – probably only 30 seconds – but I felt disrespected and annoyed. Had I been less startled, I would have spoken up, but it happened so fast. I don't think she thought about it either; she didn't consciously override me or disregard my feelings, but simply got caught up in her own head.

At a drumming workshop, the instructor asked each person to individually play back a rhythm. I decided to pass on that particular exercise, being self-conscious about my sense of rhythm. When it came to my turn, I told the instructor that I would prefer not to and he was fine with that, but someone else in the class said "we're allowed to not do it?". It shocked me that those around me didn't know that they were allowed to say "no" to something.

If we value consent as individuals and as a community, we will all develop the ability to lovingly enforce boundaries and respectfully step back if requested. That's what a complete culture of consent could help us all with. There's a phrase amongst people that are seeking to create "consent culture": "yes means yes". Instead of defining consent in terms of what we don't say no to, it is about seeking enthusiastic consent. Enthusiastic consent and participation is what we should want in all our rituals; it will make our magic and our worship stronger.

There a few things I consider non-negotiable to warn for going into a ritual: skyclad (especially if it is mandatory); blood drawing; and drugs, including alcohol, in the working portion of the rite (a small amount of alcohol in the food and drink portion seems acceptable to me as long as consumption is voluntary and an alternative is presented as equal in value). Unfortunately, I have seen or heard from trusted sources of all three of these things being sprung upon ritual participants at different times by ritual leaders who should know better. I believe that sometimes ritual leaders are using the element of surprise in these matters as ways to shortcut to intense experiences. By springing something controversial and difficult on the participants, they can provoke an emotional response to add to the energy of the ritual. I think it is a lazy way of creating a heightened atmosphere and has no place in a religion that calls all members priests and priestesses.

Warning for or avoiding nudity, blood, and drugs is just the minimum we should do, though. The next step would be doing what this year's event coordinator did at the Gathering: making sure all event descriptions include information about scents/incense and food so potential participants with allergies and sensitivities can make informed decisions in advance. Finally, I believe we should make it clear how people can opt out of any part of a ritual or leave the sacred space completely.

I feel like it is an incredibly powerful thing to be able to have a skyclad ritual at a Pagan event. I've felt and seen the magic that happens when people have the chance to be naked in Circle together: how people gain confidence and become more embodied, and sometimes even become more comfortable in their skin. I don't practice skyclad at home, but I lead mixed groups of almost strangers in nude rituals at the annual local Pagan camp (The Gathering for Life on Earth) because I believe it is important for the experience to be available there1.

This year, the camp's theme was "The Wild Hunt" and my ritual, called Challenges of the Wild Ones, was on the first night, at about 11 PM. This has been the traditional time slot for the "starlit skyclad" (known in previous years as the "nude moonlit"), and I like it for the feeling of jumping in to cold water: everyone who wants to take the plunge can do so early in the weekend, before they have time to talk themselves out of it. I know how much courage it takes for people, especially first timers, to take off their clothes in front of other people, especially if they are also coming to one of their first group rituals ever. I feel honoured that several times, my skyclad ritual has been someone's first group ritual besides the camp's opening. I am flattered by the trust they've put in me.

When I write rituals for strangers, I cast my mind back to when I was new to public rituals and I never include anything that would have made that self feel unsafe or embarrassed. So when I was writing "Challenges of the Wild Ones" and wanted to include a part where everyone had to respond to a question, I considered a couple of different ways of making that more comfortable while keeping the feeling of a challenge. One option I considered was to give the questions in the pre-ritual explanation so people would have more time to prepare their answer. This was ultimately rejected because I didn't want everyone distracted by thinking up and remembering their answers during the first part of the ritual. The solution I came up with was to offer the option of a silent response. Since everyone would have their eyes closed, people wouldn't necessarily know who spoke and who responded silently, so hopefully that would minimize peer pressure. Honestly, I expected most people would respond silently when given the option, but when that portion of the ritual started, every single person gave their answer out loud. I don't remember many of the answers - the answers were to the gods or spirits, so not mine to collect - but I was deeply touched by the authenticity and honesty in how people spoke. I felt that most people responded from deep truths, even when their words were simple.

Later that weekend, I spoke to someone else who had been in that circle about how that surprised me, and she said that maybe because I had given people an "out", they felt safe enough not to use it. This dovetails nicely with my theory that if we make it easy for people to know how to leave a ritual, they'll be less likely to want a way out. I don't think offering an opt-out option will usually result in a ritual of non-participants watching... if it does, the ritual needs to be redesigned from scratch.

The pre-ritual speech I had my priest give (while I ran down to the beach to finish setting up) included directions on what to do to opt out of an activity, permission to respond silently, mention that I would be touching people on the shoulder to prompt their response, and instructions to bring their cloaks and towels with them for the optional skinny dipping. Looking back, I would have liked to have added a note about how to leave the ritual completely. There was one originally, but when the opening ritual didn't include a circle casting, I hastily wrote a circle casting into my ritual and didn't have the time to thoughtfully consider how people should exit. I would have also made sure to draw attention to the ingredients in the food and drink (several people took only apple slices until they found out that the cookies were gluten- and nut- and dairy-free), and to mention that opting out or leaving would have no consequences and there would be no questions asked, though my priest and I would be available to talk or receive feedback throughout the weekend.

Our most popular Pagan liturgies hold that we are all divine, or at least all capable of reaching the divine on our own. If everyone is god/dess, or even if everyone is "merely" a priest or priestess, then we owe each other respect. One of the ways we can show each other respect is to seek consent in all things. It is the least we can do for our fellow deities.

mythumbnailIt has come up in conversation a couple of times recently: How do you leave a ritual?
 
If you are a parent with a small child who needs you in the other room...
 
If you are a parent wearing an infant who wakes fussy mid-ritual...
 
If you suddenly feel ill...
 
If you have a physical or psychological condition that require you to leave...
 
If you are uncomfortable with something that is happening in the Circle...
 
There are a lot of reasons someone may want to leave the ritual space, but there are also reasons they may feel they have to stay anyway. For example, they may just not know what the procedure is for leaving and don't want to risk doing the wrong thing, or they may not want to go against the perceived authority of the person leading the ritual, especially if that person is a community elder. They may not want to speak up or interrupt because they don't want to draw extra attention to themselves or they fear they'll be seen as a troublemaker. In the conversations I've had, a lot of Pagans I know have stayed in a ritual situation where they were uncomfortable due to, basically, indirect peer pressure.
 
In our covens, groves, and spiritual families, this is fairly easy to resolve by all agreeing to a standard procedure for how one exits a ritual before it is over. This might include an agreement on whether or not someone has to say something before exiting or can just leave, a procedure for cutting oneself out of the Circle or how to get the Circle caster to do so, and whether or not someone can return to the ritual and how to do so.
 
In a public ritual or a private one with guests, especially if it may be someone's first group experience, adding an "out" to our pre-ritual spiel seems obvious, yet I don't think I've ever heard it included. In fact, even just hours after having a conversation about this, I forgot to include it in my explanation before the Beltane ritual at the Gathering. I'm determined not to forget again, so here's a draft of the speech I'm considering; I hope by writing it out, it'll be easier to remember:
 
If you need to or want to leave the ritual at any time, for any reason, please know that you are free to do so. We are all our own Priests and Priestesses; you do not need permission to leave. Every Circle is different, but in this Circle, you can cut yourself in and out. Simply stand near the boundary and visualize an opening - making a cutting gesture may help with the visualization. After exiting, please visualize the opening closing again behind you. If you wish to return to the Circle, simply reverse the procedure.
 
Unfortunately, the people who may most need to give such a speech may never do so, but if most people who lead public rituals make a point of always giving an out to all participants, maybe the word will get around that you never have to stay. Let's empower each other, protect each other, and, at the same time, make our rituals more friendly to parents, to new Pagans, and to those with other challenges that may limit their participation otherwise.

I am not very fond of public speaking or being the centre of attention. I sometimes have someone else lead the larger public rituals in my place. Since I am not comfortable, I have to work on speaking clearly and confidently when participating in a group ritual.

As I've written before, participants can only really feel a part of the ritual if they can hear it, so speaking loudly and clearly is obviously important. Speaking at the right speed is also part of making sure your words are appreciated. I tend to speak too fast in front of groups and I have to make a constant effort to slow down and pause more frequently, especially while leading meditations.

The other thing I've noticed in speakers in group rituals of all sizes, however, is a tendency to speak as though the words were meant ironically.

I don't like acting. I am easily embarrassed. I have had the problem where the words that seemed so poetic and beautiful on paper seem cheesy when spoken out loud. And when all those factors are combined, I won't always commit to my part, and my speech ends up coming out without affect. When read or recited flatly, a beautiful quarter call or invocation can very easily sound sardonic or even contemptuous.

There are some people who just naturally have neutral voices, but when I hear flat recitals from someone who speaks with great enthusiasm and energy otherwise, I know something else is going on. And I do think it comes down to embarrassment. Those of us without acting or public speaking training often feel self-conscience in front of a large silent group, so the tendency is to just get through it so everyone's attention will move on. But along with that, our society currently seems to value irony and wit over enthusiasm and sincerity. I suspect that everyone with a sincere passion for something has had someone roll their eyes at them at least once, and it can be wearing to be surrounded by jokes about popular bands and snark about popular passtimes. It can start to feel like you have to choose between being smart, being clever, and being in on the joke, or being a "sheep", being silly, and being the joke. I'm as guilty of this as anyone; I have a jango.com radio station called "Songs I don't want people to know I like".

If in every day life, we're encouraged to treat our passions ironically and we get used to making clever remarks instead of responding authentically, this will leak into our behaviour in rituals. When then given a "cheesy" speech or a bit of purple prose to recite, some of us will naturally want to rush through it flatly, keeping ourselves detached from the emotions in it, keeping ourselves at a safe distance from something that should demand a wholehearted commitment.

I definitely see the value of acting lessons and public speaking practice in making for better ritual performances - some of the best quarter callers I know have these things in their background - but I don't think they are necessary for most of us. That said, I don't have a solution since I'm still working on this myself. What I am doing is practicing with my spiritual family before I go in front of larger groups of people I don't know as well, and working on saying things more slowly and really thinking about each word and phrase even as I say it. I'm also trying to be more aware of the ways in which I use wit and irony to stay detached in daily life. I challenge everyone to really listen to themselves the next time they call a quarter or invoke a deity. Speak with your heart, commit to what you are saying, and don't be afraid to let everyone hear your genuine voice.

mythumbnailIn the previous post (Spirit of Generosity and Generosity of Spirit), I discussed what both ritual leader and participant have to bring to a public ritual in order for it to be successful. Here, I’d like to get into the nitty-gritty of what it takes to write and lead a successful, unconventional public Pagan ritual. Some of this will apply to a standard Wiccan-style public ritual, and will certainly apply to non-Wiccan public rituals, but I am most interested in the presentation of experimental Pagan rituals.

Give advance notice.

Whenever possible, tell your participants a little bit about what to expect before you start. If there's an email or message board post about your event, include a note about what tradition or religion you are from, maybe with a link to a website with some basic information. If your ritual isn't from an established and recognized tradition, you may just want to note that you will be leading an unconventional ritual.

Face it: your potential participants are mostly Wiccans or Wiccan-influenced. Even those who don't identify as Wiccan will probably have a basic understanding of that ritual structure. By all means, conduct your ritual according to your own tradition - as un-Wiccan-like as it might be - but if you assume knowledge of Wicca when choosing what to explain and what not to explain, you will be able to pick your talking points with more accuracy.

If your ritual includes anything that could be controversial - political magic, nudity, mind altering substances, blood magic, sex magic - you absolutely must let people know before you start, and preferably before they arrive. You would think this would go without saying, but I have been in a circle where there was an undisclosed skyclad requirement, and one where participants were asked to make a voluntary blood sacrifice, and I know how upset some of the participants were in both cases. By the way, both rituals were led by elders of the community.

Even with advanced notification and FAQ links, there may be some things you'll want to explain to the group. If you can work the explanations into the ritual in a way that feels smooth and unforced, that is best, but sometimes it just can't be done. Rather than doing the "professor thing" of lecturing while walking back and forth or around and around during the ritual, just get everyone gathered up and give the most basic explanation possible of what's going to happen. I highly recommend writing this in advance and reading it off the paper if you have to; you want to be as concise as possible, explaining only what you absolutely have to as clearly as you can. Winging it will often lead to extraneous points obfuscating the important parts.

Show, don't tell.

The participants will be looking to you to model what is expected of them. Rather than explain that in your tradition, you call the element of spirit while all looking up, just do it. Make sure anyone else who is running the ritual with you knows what to do, or tell a few people in advance, but then just let it happen. A few people may bow their heads instead, in keeping with their own tradition, but most will follow your lead.

Do a walk and talk.

Have you ever noticed how TV shows deal with long exposition? When something absolutely has to be explained and cannot be shown, a show will often have the characters on the move, walking and talking down a hall or a street. Or the talking will be split between several characters, instead of a monologue. This helps the audience stay engaged. Similarly, in a ritual, instead of having your priest or priestess drone out all explanations and directions while standing in the centre or at the altar, split it up between several people and move it around. I like having each of the quarter callers take a piece of the explanation in turn, so the participants’ attention ends up flowing around the circle.

Commit to the performance.

You will quickly lose the attention of your participants if you mumble. If you are doing a very unconventional ritual, it is especially important that everyone be able to see and hear what's going on at every stage. Ideally, your participants have come to your ritual with open minds and generous spirits, but you will quickly use up their good will if they can't hear you.

I believe in practicing ahead of time. Even if you don't require memorization, everyone who is helping you put on the ritual should be familiar with what's going to happen and should know their cues. Make sure everyone reads or recites their lines out loud a few times before starting so they have a good flow to the words. For bigger and more elaborate rituals, do the ritual with a smaller group in advance - a dress rehearsal of sorts.

Make it work.

A public ritual is an act of generosity and compromise. Sometimes, something that works in your small group ritual setting will not work in a public or very large ritual. For example, in my circle, we all bring our own goblets for sharing drink, but asking 300 people to remember to bring their own goblets is impractical. Be prepared to modify how you do things to make the best ritual experience for everyone.

There are some common things to look out for when modifying or writing a ritual for a large group. We will talk about these more in a future post, but, as an example, look for long pauses where nothing happens for the majority of participants. Food and drink sharing is a place where this happens a lot; as the one goblet is being passed around, everyone else stands and waits. Consider using several goblets and/or adding a chant to break that up. Look at your ritual with the eye of a director putting on a play. You cannot provide a spiritual experience to a group if your performance basics aren't met, so I definitely recommend compromising on your religion's usual traditions in order to better serve the group.

Serve the ritual.

Some things cannot, and should not, be compromised. Even though they might be controversial or less than optimal for performing, if something is fundamental to the ritual, than do it. Just use this rule thoughtfully; plenty of things we do in rituals aren't fundamental and can be modified, they just usually aren't. As you write or edit every part of the ritual, ask yourself: "How will this perform? Will it be clearly heard, seen, and understood? Is there a spiritual or religious reason why this has to be done this way?"

In small groups, some things we always do because they are religiously important (for example, we may always call the Goddess before the God for religious reasons), and some things we always do because the routine - the ritual of it - helps get the group into the right mindset because of the repetition (for example, calling each quarter from the edge of the circle, facing outwards, may be just how things are done in your tradition). The latter things can be changed; your large diverse group does not have the repetition to call on, so it is more important to serve the needs of the group than to follow the exact requirements of your usual ritual structure. Sometimes it is hard to tell the difference between the two, though. Try asking yourself: "What belief does this action serve?" If you don't have an answer, you may be able to compromise on that part of the ritual.

There is an art to putting on public rituals, and it can take practice. I recommend attending as many public and semi-public rituals for as many different Pagan traditions as possible and see what works and what doesn't for you, and what does and doesn't for the other participants. Then, practice with smaller groups - your coven, grove, or other usual group with some guests - before going to big groups of strangers. But at some point, if you want to conduct public rituals, you will just have to take the plunge and do it.

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Imbolc Labyrinth (with altar)

I've been in recent contact with a Pagan student leader. They have created a Pagan club at a local college and we were corresponding about what I did with my Pagan Students' Association all those years ago. I mentioned that we held Sabbat rituals, and often had quite large groups attend, including non-student Pagans. They wrote back:

"We don't hold rituals because we want to be inclusive to pagan faiths other than Wicca. We have people who follow many different deities, and we have Wicca from a variety of paths so I'm not really sure that an open ritual would work. How did you handle that?"

That got me thinking about the art of public rituals, especially with diverse groups. I've led some big rituals and been to ones by a lot of different groups, and some have been more successful than others. There is an art to writing and performing a Pagan ritual for a large, diverse group.

It is a generous gesture to offer to lead a ritual for a large event. Writing the ritual, perhaps rehearsing it, securing a space, gathering materials, and putting yourself out there to lead it requires a lot of time and energy. The person designing the ritual may have to compromise what they would usually do in order to remove tradition secrets, to simplify it for non-tradition members, to make it suit a larger group, or to make it more eclectic or generic.

There is also generosity involved in attending a public ritual. You have to go in with an open mind. You have to give up your preferences in order to experience what is being offered.

When people meet in the middle - when the generous offering of a spiritual experience is met with generous minds and hearts - beautiful sacred space can be created.

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