During my rare classes on Green Witchcraft, questions and situations arise relating to the actual process of magical work. I realized that there was more information to be shared.
My course on the Witchcraft of Nature spans eight consecutive weekends, so I developed Green Witchcraft: The Manual as a do-it-yourself instruction book for people to use on their own. But as questions arose on the "nuts and bolts" of magic and energy movement, I pulled together information for a focused discussion on the methodology in Green Magic: The Sacred Connection to Nature. I grew up with magical practices, spiritism, and Rules of Conduct interwoven with daily life due to my mother's Craft heritage, and my writings have been based on these oral instructions, events, observations, and experiences.
My teaching method imitates my own learning, utilizing verbal instruction, activity, and participation. Thus, through the doing, the Craft comes alive, and opens the way to more detailed information. Normally, students are already practicing the Craft when they arrive in my class, but even so, there are surprises.
Need for Grounding
Learning is a two-way street, and my students taught me that their comprehension was enhanced when I separated things into components during my demonstrations of typical ritual work. The use of gestures and tone of voice for manipulating energy was something I had taken for granted, yet this was novel to many students, some of whom were so self-conscious about Craft work that they barely moved at all, and preferred to think rather than speak their spells.
Visualization was another weak area, yet the moving of energy, drawing it in, directing it, and sending it off on a task requires feeling and handling the energy as well as seeing the task accomplished or at least passing through appropriate stages.
Making Magic Manifest
Magic may be part of everyday life, but the mundane is not part of magic—moving energy requires something unusual. Being self-conscious can limit the amount of energy raised or hinder its effectiveness. You really do need to "get into it" when conducting energy, being as dramatic or theatrical as necessary to be fully focused on the work in progress. Mother liked to play cards with friends and always brought home a prize from games of bridge or gin rummy. But winning was her focus, and in forty years of card games, I never beat her simply because she would playfully jinx my cards. As a youngster this would infuriate me, but as I got older I saw this quirk as harmless and quite humorous. She was not self-conscious about magic in the middle of a private game, and I am sure that in public she managed a sly jinx on her competition from behind her cards.
To write about the process of conducting a magical working meant taking it apart and examining step by step how the energy is moved. Other influences are also at work in popular Craft culture, including Eastern religious practices like chakras, mudras, and pujas. Discovering that things familiar to me can be related to other cultures is fascinating, but I feel that for learning purposes, the approach to magic needs to be from the standpoint of the practicing Witch. With my book on magic, I have attempted to put more information "out there" for others to look over and draw into their own practice as they feel is relevant. It is my hope that through my writings, the lessons I learned as a child will be passed along to future generations.
Ann Moura has been a practitioner of Green Witchcraft for over forty years. She holds both a BA and an MA in history. Moura lives in Florida, where she runs her own metaphysical store, presents public rituals, and teaches ...