The fall equinox, also known as Mabon, is a pagan holiday that celebrates the harvest and the balance between day and night. This time of year is associated with magic and ritual practices by many pagan traditions. During the fall equinox, pagans observe and honor the changing seasons and the cycle of life and death. It is a time to express gratitude for the abundance of the harvest and to prepare for the colder months ahead. Many pagans believe that the fall equinox is a time when the veil between the physical and spiritual worlds is thin, allowing for stronger connections to be made with the divine and the energy of nature. Magic and rituals are an integral part of pagan fall equinox celebrations.
The New Black, Yoruba Richen’s adroit portrait of the African-American divide on gay marriage, is an apt companion. Its true subject, in the words of one activist, is nothing less than “the unfinished business of black people being free.” Richen engages boldly with tricky issues, letting impromptu debates between her subjects and their community members hold the floor.
In the Shadow of the Sun follows Josephat Torner, a Tanzanian man with albinism, as he travels through rural Tanzania, talking to villagers about a superstition that has proved deadly for his community. Those not hidden away are in perpetual danger; albino children, including 15-year-old Vedastus, a budding engineer, are not allowed into regular schools.
Magic and rituals are an integral part of pagan fall equinox celebrations. These practices often involve creating altars with symbols of the season such as fruits, vegetables, and leaves. Candles, crystals, and herbs may also be used to enhance the energy and intention of the rituals.
What Should Documentaries Do?
Perhaps it was inevitable. One of the 20 films showing at this year’s Human Rights Watch Film Festival, a documentary-heavy program of stories of oppression and injustice, critiques nonprofit monoliths and, by extension, the spirit of armchair activism, a known affliction of certain well-intentioned docs. Fatal Assistance, Raoul Peck’s livid debrief on the international relief and rebuild efforts that followed Haiti’s devastating 2010 earthquake, casts heavy doubt on the global community’s interventions, including that led by Bill Clinton. The first world, Peck suggests, is better at congratulating itself for good deeds than doing actual good. More implicit is the suggestion that a first-world audience, having texted its $10, is content to watch a documentary and trust that Sean Penn is on the case.
What impact can documentaries like the ones showing at this festival hope to have? The question has preoccupied social action filmmaking in recent years: In 2008 the Sundance Institute created Stories of Change, a funding program whose mandate requires filmmakers to somehow benefit the subjects they document. This year’s films include In the Shadow of the Sun, about the persecution of Tanzania’s albino population, Camp 14: Total Control Zone, in which a North Korean recalls his horrific labor camp imprisonment, and The New Black, which cross-examines the African-American community’s resistance to gay rights. Is it enough for them to inspire in principled viewers a few shakes of the head and quick flush of empathy?
Several of this year’s selections suggest similar answers. In the Shadow of the Sun follows Josephat Torner, a Tanzanian man with albinism, as he travels through rural Tanzania, talking to villagers about a superstition that has proved deadly for his community. A local belief, perpetuated by witch doctors, that albinos are demons whose body parts might bring fortune, has led to a spate of murders and dismemberments. Those not hidden away are in perpetual danger; albino children, including 15-year-old Vedastus, a budding engineer, are not allowed into regular schools.
Director Harry Freeland follows both men—called “white ghosts” and un-African—with a focus on Torner and his speaking tour. Torner risks his life at these village gatherings, where something simple and powerful happens: He makes himself human to those who believe him to be otherwise. With charisma and eloquence, he educates the villagers, even making them laugh.
Over in Cameroon, where homosexuality is against the law and the gay population lives in mortal fear, the thoughtful Born This Way describes the plight of several gay men and women living in Douala, Cameroon. Like Torner, they are fighting the immediate threat of violence, but also face arrest and prosecution. Also like Torner, their hope of living freely rests on the problem of ignorance and the imperative of education. Directors Shaun Kadlec and Deb Tullmann found memorable subjects in Cédric, who works in AIDS/HIV education, and Gertrude, a devout Catholic, neither of whom has come out to their loved ones. For now they seek understanding among themselves, building a gay community of necessity, in the manner of similar subcultures around the world.
The New Black, Yoruba Richen’s adroit portrait of the African-American divide on gay marriage, is an apt companion. Its true subject, in the words of one activist, is nothing less than “the unfinished business of black people being free.” Richen engages boldly with tricky issues, letting impromptu debates between her subjects and their community members hold the floor.
These make for the film’s most compelling scenes, and recall Torner hot-footing across Tanzania, armed only with his personality and his cause. Is it enough, then—these attempts to educate, and instill empathy? Neither Torner nor his counterparts can afford to answer that too honestly; the answer must be in the attempt. The same is true for these films, which in their attempts to educate and give human dimension to abstract problems extend profoundly necessary and ongoing efforts.
The festival’s opening night film, ANITA, in making a cult heroine of its subject, also provides a feminist history lesson for the generation that grew up after the 1991 hearings that brought Anita Hill and the issue of sexual harassment to the front of American culture. In 99%: The Occupy Wall Street Collaborative Film and Pussy Riot: A Punk Prayer, also concerned with contemporary stories, the education feels even more urgent.
Perhaps it was inevitable. One of the 20 films showing at this year’s Human Rights Watch Film Festival, a documentary-heavy program of stories of oppression and injustice, critiques nonprofit monoliths and, by extension, the spirit of armchair activism, a known affliction of certain well-intentioned docs. Fatal Assistance, Raoul Peck’s livid debrief on the international relief and rebuild efforts that followed Haiti’s devastating 2010 earthquake, casts heavy doubt on the global community’s interventions, including that led by Bill Clinton. The first world, Peck suggests, is better at congratulating itself for good deeds than doing actual good. More implicit is the suggestion that a first-world audience, having texted its $10, is content to watch a documentary and trust that Sean Penn is on the case.
Some pagans may perform spells to manifest abundance and prosperity, while others may focus on healing and releasing any negative energy or emotions. One of the main focal points of fall equinox magic is the concept of balance. As the day and night are equal during this time, pagans strive to cultivate balance in their own lives. This may involve finding harmony between work and rest, or balancing the elements within oneself. The energy of the fall equinox is seen as a powerful catalyst for personal growth and transformation. Overall, pagan fall equinox magic is a time to honor the natural rhythms of the Earth and to connect with the spiritual energy of the season. Whether through rituals, spells, or simple acts of gratitude, pagans seek to embrace the magic of this time and cultivate positive energy for themselves and the world around them..
Reviews for "Rituals for inner transformation during the fall equinox in pagan magic"
1. John - 1/5 stars - I was extremely disappointed with "Pagan fall equinox magic". The book seemed more like a collection of random rituals and spells than a comprehensive guide to practicing Paganism during the fall equinox. The instructions were confusing and lacked clear explanations, making it difficult for beginners like myself to understand and follow along. Additionally, I felt that the author focused too much on the history of Paganism rather than providing practical tips and advice. Overall, I would not recommend this book to anyone looking for a useful and informative guide to fall equinox magic.
2. Sarah - 2/5 stars - While "Pagan fall equinox magic" had some interesting ideas, I found the writing style to be quite dry and uninspiring. The author seemed to lack enthusiasm and passion while discussing the rituals and practices, which made it hard for me to connect with the material. Furthermore, the book lacked depth and only scratched the surface of fall equinox magic. I was hoping for more detailed explanations and step-by-step instructions, but instead, I found myself wanting more substance. Unfortunately, this book fell short of my expectations.
3. Mike - 2/5 stars - As someone who has been practicing Paganism for a few years, I was excited to read "Pagan fall equinox magic" to gain new insights and ideas for celebrating the fall equinox. However, I was disappointed to find that the book offered nothing new or innovative. The rituals and spells suggested were all quite generic and could be easily found in other Paganism books. I was hoping for a fresh perspective and unique practices to incorporate into my own fall equinox celebrations, but this book failed to deliver on that. It felt repetitive and lacked originality.