Pagan musicians artists: Pagan musicians and artists are individuals who identify with or express the beliefs and practices associated with paganism through their music or art. Paganism is a broad term that encompasses various spiritual and religious traditions that are often based on the worship of nature or ancestors. Many pagan musicians create music that reflects their spiritual beliefs, drawing inspiration from ancient myths, folklore, and nature. They may incorporate traditional instruments, such as drums, flutes, or harps, along with modern instruments, blending traditional and contemporary sounds. Pagan music can range from soothing and ethereal melodies to more energetic and rhythmic compositions. Pagan artists, on the other hand, use various mediums to express pagan themes and concepts in their work.
Pinch, G. Magic in Ancient Egypt. London and Austin: British Museum Press/University of Texas Press, 1994.
In ancient Rome, astrologers, who read the movements of stars and constellations to determine the destiny of individuals, were commonly grouped with magicians as magical practitioners. Because diseases, particularly those that were long-lasting or difficult to cure, were frequently attributed to divine origin or causation, medical practitioners often employed magical rituals to appease angry gods, expel demons, and produce a cure.
Pagan artists, on the other hand, use various mediums to express pagan themes and concepts in their work. They may create visual art, such as paintings, sculptures, or jewelry, that depict mythological deities, nature spirits, or symbolic elements associated with paganism. Some pagan artists also specialize in creating altar tools, such as athames (ritual knives), chalices, or tarot decks, that are used in pagan rituals or ceremonies.
Secrets of Ancient Magic
In ancient Egypt, Mesopotamia, Greece, and Rome, practitioners of magic exploited symbolic words, images, and rituals to achieve desired outcomes through supernatural means. Using magical acts, they attempted to control supernatural powers— gods, demons, spirits, or ghosts—to accomplish something beyond the scope of human capabilities. The exhibition Magic in the Ancient World, now at the Penn Museum, illuminates how different cultures used magic as a way of managing or understanding the present, controlling supernatural agencies, and seeing the future. This exhibition features objects from the Museum’s rich collections of the Near East, Babylonian, Egyptian, and Mediterranean sections.
Professors Robert Ousterhout and Grant Frame, curators of Magic in the Ancient World
Protective figurine of Humbaba or Pazuzu. The striations around the face of this demon are either the entrails of an enemy, worn by Humbaba, or the whiskers of Pazuzu’s lion-like face. Both demons were among a number of apotropaic images that warded off evil. H. 3.9″,
Museum Object Number(s): 33-35-252
To the modern mind, the word “magic” likely conjures up images of Hogwarts and other fantastical and exclusive realms. Yet in the ancient world, magic was not only a perceived reality, but was also accessible to many people. Surviving literature and archaeological remains from ancient societies surrounding the Mediterranean, including those of Egypt, the Near East, Greece, and Rome, reveal the extent to which magic pervaded most aspects of life in antiquity.
Magic, often overlapping with what today might be considered science or religion, was a resource for mediating one’s interaction with society and the world. It was a source of protection; a means for healing; a method for ensuring success in business, love, and reproduction; and a platform for predicting the uncertain future. It even lay at the root of many funerary practices. Thus, from birth until death, magic touched all stages of human life.
Known as “the one who keeps enemies at a distance,” Tutu was a sphinx-like protective god with a human head, lion body, bird wings, and a snake for a tail. He appears surrounded by knives and scorpions, possibly as protection for a tomb or temple. Egypt, ca. 30 BCE–624 CE. H. 10″.
Museum Object Number(s): 65-34-1
Protection
Ancient practitioners employed both helpful, defensive magic and harmful, offensive magic, which might be thought of in modern terms as “white” or “black” magic. The former includes apotropaic, or protective, magic. Apotropaic magic was predicated upon a belief that certain depictions, texts, or practices shielded the user from harm. For example, thousands of phallic-shaped amulets, which warded off evil and misfortune for the wearer, survive from antiquity.
Terracotta rider with gorgon shield. This votive was found at a Sanctuary of Apollo on Cyprus (late 4th century BCE). A gorgon’s head was an apotropaic symbol thought to ward off other evils by terrifying them. H. 6.7″.
Museum Object Number(s): 54-28-69
Male sexual imagery symbolized power and violent force, whereas female sexual imagery symbolized reproduction and fertility, in accordance with ancient gender roles. Additionally, the powers of demons, monsters, and gods, who were harmful by nature, could be harnessed through their depictions on amulets, armor, and buildings. These images would then provide protection against natural and supernatural threats.
Apotropaic demons included the Near Eastern Pazuzu and Humbaba, who fought off other malevolent forces such as Lamashtu, a demon harmful to pregnant women and children. In ancient Greece and Rome, a Gorgon’s head, placed on armor and above entryways, provided the user with luck and protection. The head of the Gorgon Medusa also adorned the shield of the Greek warrior goddess Athena. In Egyptian culture, images of the goddesses Sekhmet and Taweret played apotropaic roles. Both goddesses had violent or savage forms: Sekhmet, who protected against disease, was part lion; Taweret, who watched over mothers and children, was part hippopotamus.
Aramaic incantation bowl from Nippur dating to before the 7th century CE. A similar bowl (B2963A) contains a charm against a murderous spirit. Part of the inscription reads: “Designated is this spell…for the sealing of the household of this Ardôi bar Hormizdûch, that from him may depart and remove the evil Demon and the evil Satan.” Diam. approx. 6.9″.
Museum Object Number(s): B2965A
The Penn Museum houses a substantial collection of another form of ancient protective magic, the incantation bowl or “demon bowl.” Decorated with a spiraling incantation and, typically, an illustration of a chained demon, these bowls were buried upside down around the boundaries of a property or the thresholds of a room. Used well into late antiquity (ca. 2nd to 8th or 9th century CE) and found throughout the ancient Middle East, such bowls trapped evil spirits and denied them access into one’s home, constituting an ancient magical security system.
Pagan musicians and artists often find a sense of community and connection with others who share their beliefs through their creative pursuits. They may perform at pagan festivals, gatherings, or rituals, where their music or art can provide a spiritual experience and contribute to the overall atmosphere. Pagan musicians and artists also play a role in preserving and promoting pagan traditions, as their work serves as a means of storytelling and education for both pagans and those interested in learning more about pagan spirituality. Overall, pagan musicians and artists play an important role in the pagan community, expressing and celebrating their spiritual beliefs through their creative expressions. Their music and art not only provide a source of inspiration and enjoyment, but also contribute to the preservation and spread of pagan traditions..
Reviews for "Pagan Musicians and their Connection to Nature: Spreading Environmental Awareness Through Melody"
1. John - 2/5 stars - I found the music of the pagan musician artists to be quite repetitive and monotonous. The beats were predictable, and the lyrics were uninspiring. I was looking for music that would captivate me and transport me to a different realm, but unfortunately, these artists fell short. I felt like I was listening to the same song over and over again, just with different titles.
2. Sarah - 1/5 stars - Personally, I found the pagan musician artists' music to be a cacophony of noise rather than a harmonious symphony. The combination of instruments and vocals didn't blend well together, and it felt chaotic rather than cohesive. The lyrics were also hard to decipher, and I couldn't connect with the songs on an emotional level. Overall, I was disappointed with their music, and it didn't resonate with me whatsoever.
3. Michael - 2/5 stars - As someone who enjoys a diverse range of music, I found the pagan musician artists' songs to lack originality. It felt like they were rehashing the same themes and melodies used by other pagan artists without adding anything fresh or innovative. The music lacked depth and complexity, and I was hoping for more thought-provoking lyrics and intricate instrumentals. Overall, their music was forgettable and didn't leave a lasting impression on me.
4. Emily - 3/5 stars - While I appreciate the pagan musicians' attempt to create mystical and atmospheric music, I found their execution to be somewhat lacking. The songs felt repetitive, and the melodies were overly simplistic, making them easily forgettable. The vocals also lacked the captivating and ethereal quality that I was expecting from pagan music. I think they have potential, but they need to work on their songwriting and musical arrangements to truly stand out in the genre.