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Chapter
Two -- Rituals of Passage
When Judy was still employed,
she attended a retirement party held for a colleague. She was struck by
its ritualistic elements: a speech full of praise from the retiree's
direct supervisor, a "roast" from one of his close friends, the
presentation of a certificate of recognition from the Governor, a
decorated cake, gifts (yes, even a fancy wristwatch!). Even though
there was no religious or spiritual component at all, these are
well-established customs of Eldering in the secular American workplace.
Consider also the bridal
shower, the sweet-sixteen party, the college commencement exercise. The
existence of such passage rituals even among unbelievers demonstrates a
real and enduring human need to mark our transitions in a public and
meaningful way.
For the religious, passage
rituals can go far deeper, work far better than the average secular
commencement exercise or retirement party. As members of the clergy, we
have the skills to create rituals that are both beautiful and
effective. Such rites can help people navigate, understand and
assimilate the changes, let go of old ways of being and move fully into
the new ones. They also signal their families and communities that they
have changed, entered into some new status and role, and should be
perceived and treated in some different ways.
Three major stages of passage rituals
Modern psychologists and
anthropologists have been studying the rituals of passage at least
since the time of Arnold van Gennep (1873-1957). In his 1909 book, The
Rites of Passage, van Gennep pioneered the insight that passage
rituals work through a sequence of three steps.
1. Separation - also called the pre-liminal
stage - involves a removal from or yielding of former roles or social
statuses.
In a traditional
Jewish wedding, both bride and groom are escorted to the canopy by both
of their parents. Then the parents take their seats in the front row,
leaving their children at the threshold of a new life together.
2. Transition - also called the liminal
stage (limen is Latin for "threshold") - the time between two
different ways of being, at the threshold, when challenges are met,
lore is imparted, oaths are taken and change is made.
The groom chants the blessing
over the wine. He and the bride drink from the same cup, as they will
now share whatever they have. Then, to establish the uniqueness of this
sacred moment, the cup is smashed.
3. Reincorporation - also called the
post-liminal stage - the passage completed, the person is welcomed back
to a new role and status in the community and in life.
The newlyweds walk back down
the aisle, together and without their parents. They withdraw for a few
private moments together. When they rejoin their guests at the
reception, they receive a tumultuous welcome.
Be aware that this is not an
absolute. The three steps are not always fully present or clearly
defined. Shortcuts happen. To further confuse matters for Pagans, the
ritual acts of creating sacred space and restoring the space to normal
usage form a sort of mini-separation and mini-reincorporation at all of
our rituals, not just the rites of passage.
But the fact that the
boundaries between them can be blurred in no way diminishes the
importance of these three steps. The analogy is clear for anyone who
has ever driven a manual-shift car. Remember the clutch? First you
disengage the gears, then you shift, then you re-engage. Every time a
major change is made, there's a place in between, a place where you are
no longer one and not yet the other. There is the place of mystery and
of change.
Victor Turner (1920-1983) was
another anthropologist who made a lifelong, intense study of ritual It
was Turner who best articulated the concept of liminality. His key
essay Betwixt and Between: the liminal period in rites of passage,
included as a supplement with these notes, is very important reading
for anybody who intends to create or conduct such rituals.
An outline of the basics of
ritual design
As we mentioned at the
beginning of this notebook, the work of a clergy-person takes several
forms: counseling, teaching about religion, and conducting rituals. Add
to this workload the daily chores of survival (which for most of us
includes attendance at school or working at a ‘day job’
of some sort), and it becomes evident that most Pagan clergy-people are
very busy indeed. One of the ways that we can make each others’
lives easier is by exchanging our hard-won wisdom about the conduct of
passage rituals, and teaching what we know to younger colleagues.
Marriage rites are, for most
of us, the most frequently-requested ritual, followed by child
blessings. As time moves onward and our community ages, we may find
ourselves doing more handpartings, cronings and death rites.
Initiations into various states of being are another class of rituals
that we sometimes do: these range from child blessings to ordinations.
These are not the only sorts of passage rites that we may be asked to
do, and there are probably an infinite number of variations upon the
basic rituals.
One of our best resources is
our own creativity, guided by our legacy of Traditional lore and the
wisdom of our elders, which can serve as a channel for Sacred
inspiration. Always remember this: we may not have everything the
Ancients had, but we have access to all the same Sources!
As Pagan clergy, we can
create or adapt rites to meet the needs of the people and situations we
are dealing with. So, we should make the effort to learn as much as we
can about ritual design. We share rituals that we have created and that
seemed to work well. Even more important, we share what we have learned
about the process of ritual design itself. The following is Proteus
Coven’s basic outline of the principles of ritual design.
I. Purpose or
theme -- why we do things.
a.
Three basic types of themes (more may exist)
i.
To CELEBRATE - to attune to a particular myth or symbol (or cluster).
To deepen our understanding of what is being celebrated and/or to call
that type of energy into our lives ("worship").
1.
e.g. this Circle is to celebrate the Horned God.
2.
e.g. this Circle is to celebrate Midsummer.
ii.
To CHANGE - primarily psychological rituals, intended to carry us
through life transitions and crises, heal wounds, and find new
directions ("magic"). Circles for change usually require a high degree
of intimacy and trust among all participants.
1.
Examples:
a.
e.g. this Circle is for self-esteem. (empowerment)
b.
e.g. this Circle is for "misfits." (healing)
c.
e.g. this is a handfasting Circle (life passage)
2.
Differs from "practical workings" part of any Circle:
a.
The ritual experience itself is intended to create a change.
b.
This change is the primary focus of the Circle.
iii.
To TEACH - aimed at imparting information and/or skills that will
contribute to celebration or change Circles in the future, or to other
aspects of the participants' work as Witches ("teaching").
1.
Examples:
a.
This Circle is to share and practice chants
b.
This Circle is to meditate on crystals
b.
All three of these functions occur in any good ritual, but one will
clearly be primary in most.
c.
An explicit statement of the ritual's main theme is helpful in
planning, in focusing during the ritual, and in evaluation.
II. Ritual
Structure - when we do things.
NOTE: This is the format for a
basic Circle in Proteus. The order may vary in other groups (e.g. some
make cakes and wine part of the opening procedures) or even, when there
is reason, with us.
a. Personal preparation:
ritual baths, meditation, etc.
b. Opening procedures
i. Consecration of elements on
altar
ii. Casting of Circle
iii. Calling of Watchers
iv. Invocation of Deity or
Deities
c. Main work of the Circle
("the meat")
d. Cakes and wine
e. "Sacred Bullshit" -
discussion of any coven business
f. Practical and personal
workings
g. Closing of Circle
III. Ritual
Techniques - the things we do.
No list of possibilities could
ever be complete, but here are some of the more familiar ones. The
general principle is that whatever happens within a cast Circle should
be congruent with everything else that happens there and with the
overall theme.
a.
Words
i.
Invocations and prayers, extemporaneous or pre-scripted
ii.
Story
1.
Pathworking, guided meditation
Note: for any meditative technique,
be very careful to do a thorough re-entry!
2.
Enactment, mystery plays, etc.
iii.
Sharing, talking stick rounds, discussion
iv.
Poetry, song lyrics
1.
Rhyme and meter are both trance-inducing and mnemonic
2.
A spell should be simple, so that it seems to say itself.
v.
Statements of desire, intent, commitment
Expressing one's will within
the intense atmosphere of ritual is powerful, effective
self-programming.
b.
Music, rhythm and sounds
i.
Spoken voice can be used to induce relaxation or arousal
ii.
Drumming and other percussion for power raising
iii.
"Space music" helps induce low-arousal meditative states
iv.
Songs whose lyrics are invocations or pathworkings
v.
Chanting for trance or for power raising
vi.
Meditation tapes
1.
Advantage: all present can participate, the officiant shares the group
experience
2.
Disadvantage: when pathworking is being done "live," the leader can
observe reactions and vary pacing accordingly.
vii.
Bells, chimes, etc.
c.
Visuals
i.
Altar images and decorations can be varied with season or theme of
ritual
ii.
Masks, robes, etc.
iii.
Mandala as trance focus
d.
Kinetic and tactile input
This is one of the most
effective ways to reconnect the bodymind. Also, movement is useful for
variety and pacing
i.
Touch - e.g. ritual kisses, joining hands around Circle
ii.
Special postures - e.g. cross-legged for meditation
iii.
Coded gestures - e.g. drawing pentagrams
iv.
Dancing
1.
High-energy to raise power
2.
Slow and rhythmic to induce trance
v.
Feeling textures, water, etc.
e.
Smell: incense and oils
i.
Scent is very primal, appeals to the old "lizard" part of the brain,
and powerfully evokes memories
ii.
Some groups use the same scent all the time to signal sacred space,
while others have developed a "vocabulary" of different scents for
different seasons and themes.
iii.
Some incense or oil ingredients have physical effects as well (e.g.
eucalyptus)
iv.
Beware of allergies!
f.
Taste: food and drink in ritual
i.
Beware of allergies, of strong aversions and traumatic psychological
associations.
ii.
Sharing of food is an ancient and trans-traditional symbol for bonding
between people ("break bread together")
iii.
Eating and drinking something that has been ritually prepared, charged
or blessed symbolises taking the energy or intention into oneself.
iv.
Food or beverage can be varied in accordance with the season or with
the ritual's theme.
v.
The alcohol debate: If the cup is primarily a symbol of
metamorphosis and transformation, then it must contain a state-altering
drink, such as wine. If, instead, the cup is about blending, bonding
and sharing, then all present must be able to drink from it without
fear or damage. There are reasonable arguments both ways. Neither is
clearly right or wrong.
IV. How to
choose - Circle planning or evaluation questions.
a. Purpose and values: Is it
appropriate?
Ritual is the patterned
expression of our beliefs and values
i.
Is the theme of this Circle in accord with our basic values?
ii.
Is each component part of the Circle in accord with both the overall
theme and our basic values?
b. Aesthetic considerations:
Is it beautiful?
Ritual is an art form. It is
an art of collage, combining many other arts.
i.
Is the Circle as beautiful as we could make it, to give honour to our
Gods, our ways, and ourselves?
ii.
Is the style consistent with the theme?
iii.
Does the Circle appeal to as many perceptual channels as possible?
iv.
Are all the component parts harmonious?
1.
with each other?
2.
with the theme?
3.
with basic values?
v.
Pacing questions:
1.
Is the pacing quick enough to hold interest?
2.
Is it slow enough to allow the theme to sink in?
3.
Is there "white space" - i.e. moments of silence to allow assimilation
of what is happening?
4.
How do you get from one ritual component to the next? Are the
transitions integral parts of the ritual?
5.
Is there a sense of overall flow?
6.
Is focus maintained?
vi.
Elegance - (the KISS principle: "Keep It Simple, Stupid!")
1.
Some ritual techniques create or maintain ritual consciousness, others
contribute to the specific theme of the Circle. If it doesn't do
either, it doesn't belong. If you have to prune (usually), keep what
does both wherever possible.
2.
Some ritual techniques are beautiful, others are psychologically
effective. If it is neither, it doesn't belong. If you have to prune
(usually), keep what is both wherever possible.
3.
Choose ritual techniques that appeal to as many perceptual channels as
possible.
c. Psychological
considerations: Is it strong?
Ritual is a methodology for
creating change in accordance with will.
i.
Is everybody present involved? Is an atmosphere or mood created? Is
focus maintained?
ii.
Are whatever psychological techniques - such as hypnosis - that are
used in this Circle used skilfully and ethically in their own terms?
iii.
Timing questions:
1.
Is this ritual design realistic about participant's time constraints
and attention span?
2.
Is time allowed for other parts of the Circle besides the "main
working" (e.g. practical or personal workings, coven business
discussions, etc.)
3.
If theme cannot be adequately handled within a realistic amount of
time, should the focus be narrowed? perhaps a series of rituals
planned?
iv.
Balance questions - questions of inclusiveness:
1.
Is there an appropriate balance of repetition and surprise? Familiar
parts are "conditioned stimuli" for ritual state of consciousness, and
amplify the effectiveness of ritual techniques chosen or created
specifically for this Circle's theme.
a.
Is Pagan ritual language used where appropriate to establish ritual
mood and consciousness?
b.
Are basic components of Circle set-up all present? How are they related
to the theme?
c.
Do additional component parts use Pagan symbolic vocabulary wherever
possible, and symbolism harmonious with Pagan symbolism and basic
values in any case?
2.
Is there an appropriate balance of receptive and active components in
accord with the theme of the ritual?
a.
receptive components: meditative or divinatory practices that enable us
to reach and incorporate the perceptions and intuitions of the deep
mind (and perhaps the guidance of the Gods). Usually low-arousal.
b.
active components: practices aimed at changing either basic attitudes
or behaviour. Usually high-arousal.
3.
Is there an appropriate balance of the cognitive, the passionate, the
intuitive and the sensual? (and again, does the Circle appeal to as
many perceptual channels as possible?)
v.
Is humour used to clear the air after energy climaxes, or does it
dissipate the energy before a climax can be reached?
vi.
Is the ritual within the group's physical comfort level? Be aware of
things like sitting still too long, struggling from floor to feet too
often, room temperature, hunger and thirst.
vii.
Question for a celebratory Circle: Will closer attunement with this
myth or symbol foster growth in a direction we want?
viii.
Questions about a Circle for change:
1.
What behaviour is this Circle supposed to release or reinforce?
2.
Is time provided to listen deep within and make sure that the change is
really desired?
"Top down" changes directed
entirely by reason and will, isolated from feeling and intuition, often
backfire. ("Be careful to ask for what you really want, because you get
what you ask for.")
3.
Is time provided for people to share their stories, express their
feelings, speak their hopes, and realise their community?
4.
How does each component of the ritual support the intended change?
5.
Are you providing suggestions for ongoing reinforcement (e.g.
affirmations) and follow through?
ix.
Questions for a teaching Circle:
1.
Is there an experiential component? (just lecture doesn't make it)
a.
e.g. for a skills Circle: is there an opportunity to practice the skill
and receive feedback?
b.
e.g. for a Circle to present some aspect of myth, is there a
pathworking, mystery play, or other opportunity to enter the world of
that myth and deeply understand it?
2.
Are you providing a reading or resource list or other suggestions for
interested people to pursue this topic further?
3.
Could your research also be turned into a magazine article, or a
festival workshop, so that the knowledge is shared with the wider Pagan
community?
Relating the ritual to the
passage
If you are creating a passage
rite, start with a good look at the way the change actually manifests,
whether that change is expected, in progress or already here. What is
tangibly different about this person's life? Is their daily routine
different? Will they be moving house? Will they look or dress
differently? What old responsibilities are they laying down and/or what
new ones are they taking up? Will they be perceived differently by
family, friends or neighbours? How will their community status or role
be changing? Will they have different expectations of themselves? Which
of these differences will matter most to the person or people most
directly affected?
The answers to these
questions will guide you in choosing what will happen in the liminal
space at the heart of the ritual. What will most clearly and strongly
show the person's deepest self what’s changing in their life?
Which stories will best give them a model of how to proceed for the
next while? What commitments should they be making at this time? What
energies should they be invoking into their life right now? What should
they be releasing? Would they do well to ask the guidance and
protection of any particular Deities, Guardians, or ancestors?
Having structured the liminal
part of the ritual, you can then plan an effective separation. What is
the person leaving behind? Are they really ready to yield it, or is
there still ambiguity? Give them a space to appreciate and grieve what
they will miss, to make peace with what they will be gladly rid of.
Give them a moment to experience the freedom and the terror of a
nakedness far more profound than merely going without clothing.
And then, finally, you can
plan how best to reincorporate them into their family and community,
not returned as the same person to the same place, but as a changed
person to a new social status and role. The youth has become an adult.
The single person is now a spouse. The worker has become an elder. They
look forward to a new life, different challenges and different
pleasures. Others follow behind them to take the places they have left,
and so the life of the community continues. Those who live with and
around them recognise and honour the change. What will serve to
normalise the new ways of being and behaving for all concerned?
In the pages that follow, we
have compiled for you many examples of rituals for different life
passages. Please remember that these are only models. They are
intended to spur your imagination and to serve as a source of ideas,
not to be rigid standards of comparison against which your work must be
measured. Study
them and notice how they work. In particular, observe how well they
manifest the basic three steps: of separation, transition and
reincorporation.
If you choose to use any of
these scripts, be sure to adapt them to the people and situation you
are working with. Remember: the more closely a passage ritual models
actual experience, the more effective it will be.
Some resources on passages and
passage rituals
Beck, R. and Metrick, S.B.
2003:
The art of ritual: creating and performing ceremonies for
growth and change; Celestial Arts,
1993:
Witchcraft today, book 2: modern rites of passage;
Llewellyn Publications,
Driver, T.F.
1991:
The magic of ritual: our need for liberating rites that
transform our lives and our communities; HarperSanFrancisco; ISBN
0-06-062096-X, 270 pages. Library of Congress call number BL600 D75.
Encyclopaedia Britannica
1993:
Sacred rites and ceremonies; in Macropaedia,
volume 26, pages 770 to 842.
Erikson, E. H.
1959:
Identity and the life cycle; International Universities
Press,
Erikson, J. M.
1988:
Wisdom and the senses: the way of creativity;
W.W.Norton,
Fried, M.N. and Fried, M.H.
1981:
Transitions: four rituals in eight cultures; Penguin
Books, Harmondsworth (Middlesex); ISBN 0-14-005847-8, 306 pages.
Library of Congress call number GN473 F68.
Grimes, R.L. (ed.)
1996:
Grimes, R.L.
2000:
Deeply in the bone: reinventing rites of passage;
Imber-Black, E., Roberts, J. and Whiting, R. (eds.)
1988:
Rituals in families and family therapy; W.W.Norton,
Journal of Ritual Studies
(serial):
from Department of Religious Studies, 2604 CL, University of
Pittsburgh, Pittsburgh (Pennsylvania) 15260; biannual, subscriptions
$25/year.
Laderman, C. and Roseman, M. (eds.)
1995:
The performance of healing;
Levinson, D.J., Darrow, C.N., Klein, E.B., Levinson, M.H.
and McKee, B.
1978:
The seasons of a man's life; Ballantine Books,
Martin, J.
1990:
Miss Manners’ guide for the turn-of-the-millennium;
Paige, K. E. and Paige, J.M.
1981:
The politics of reproductive ritual;
Reik, T.
1946:
Ritual: four psychoanalytic studies; International
Universities Press,
Santrock, J. W.
2006:
Life-span development, tenth edition, McGraw-Hill,
Schechner, R. and Appel, W. (eds.)
1990:
By means of performance: intercultural studies of theatre and
ritual; Cambridge University Press,
Sheehy, G.
2006:
Passages: predictable crises of adult life; Ballantine
Books,
Turner, V.
1987:
The liminal period in rites of passage; in Mahdi,
L.C., Foster, S. and Little, M. (eds.): Betwixt & between: patterns
of masculine and feminine initiation; pages 3 to 19. Library of
Congress call number GN473 B47.
van Gennep, A.
1960:
The rites of passage;
Young, D.E. and Goulet, J.-G. (eds.)
1994:
Being changed by cross-cultural encounters: the anthropology
of extraordinary experiences; Broadview Press,
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