Divination Decor: Using Tarot and Oracle Cards in Your Interior Design

Wiccan-inspired interior design incorporates elements of the Wiccan religion and its beliefs into the aesthetic and ambiance of a space. It is a way to create a spiritual and magical atmosphere within the confines of one's home. **The main idea** behind Wiccan-inspired interior design is to honor nature, embrace harmony, and connect with the divine. This style emphasizes the use of natural materials, earthy colors, and symbols that hold personal significance to those practicing Wicca. One of the **key principles** of Wiccan-inspired interior design is to draw inspiration from nature. Materials like wood, stone, and natural fibers are commonly used to create a sense of groundedness and connection to the Earth.

Even if Birch didn't come back for Hocus Pocus 2, fans spotted that the outfit Hannah Waddingham's Mother Witch wears is a homage to the one Dani wore on Halloween 1993. More than just being a throwaway wardrobe choice, it's possible that Dani was actually wearing her witch costume as a nod to Mother Witch.

No matter how much time it takes, our goal has always remained the same to create products that inspire your life s best moments the big, the small, the funny, the spooky, and the sweet. Size Measurement Standard Metric Medium Bodice Chest 33 1 4 84cm Medium Bodice Sleeve Length 13 1 2 34cm Medium Bodice Length 16 41cm Medium Dress Chest 29 1 2 75cm Medium Dress Sleeve Length 19 48cm Medium Dress Length 31 1 4 79cm Medium Scarf Length 67 170cm Medium Hat Circumference 23 3 4 60cm Medium Child Size 10-12 10-12.

Materials like wood, stone, and natural fibers are commonly used to create a sense of groundedness and connection to the Earth. This can be seen in the choice of furniture, flooring, and decorative elements. **Color palettes** in Wiccan-inspired interior design often consist of earthy tones such as greens, browns, and ochres.

Dani Lyndersay

Of all the arts, the theatre costume is the most multi-dimensional. The visual artist uses two di. more Of all the arts, the theatre costume is the most multi-dimensional. The visual artist uses two dimensions to create his works. The sculptor and the stage designer incorporate three dimensions. The costume designer thinks in terms of the 4th dimension—the passage of time—not the costume per se, but the moving and living costume. The costume designer’s work includes line, mass, light, sound, and movement. A theatre costumer’s first renderings on paper are generally black and white drawings, then coloured paintings, thus, visual art. The silhouettes chosen, designed, and built incorporate the choice of textures, materials and the accoutrements of accessories, and thereby become three-dimensional. However, it is only when a performer physically wears a costume that it lives through its innate sounds, light and movements. It serves as the rallying point towards the harmonization of the unity of time, place, and action in a theatrical production. In Theatre, there is a sharp division between “theatrical” and “ordinary” clothes. It is the theatrical-ness of costume that is the distinguishing factor between dress as “ordinary” and dress as “costume.” Costumes for any kind of presentation contribute toward the outward and visible appearance of the performer—actor, dancer or musician. With particular reference to Nigeria, for clothes to be transformed into costumes for use on the stage, a careful selection, adaptation and blending of the options available must be understood, as well as the reasons why dress and costumes were created and are now worn.

Arts-in-Action in Trinidad and Tobago (Caribbean) has been at the forefront of activities which r. more Arts-in-Action in Trinidad and Tobago (Caribbean) has been at the forefront of activities which recognize the positive value that the arts can play in healing children, their parents and other adults. Examples are given from the Tsunami of 2004; projects initiated by Contact Theatre in Manchester, UK; and the British Council’s ‘Magic Pencil’ project. These projects dealt with situations which gave participants opportunities to face their realities or deepen their empathy towards another’s pain and fear.

The premise that children today in urban settings do not play creatively with “found objects” nor. more The premise that children today in urban settings do not play creatively with “found objects” nor do they play “traditional games”, let alone create and invent new games is refuted with the example of young boys on the island of St. Vincent & The Grenadines in the Caribbean. There it may be seen that children can and will play with the matter at-hand, be it sand, clay, water, stones, snail or sea-shells if nothing else exists.

The manner in which children interact with each other is changing daily. New societal norms and c. more The manner in which children interact with each other is changing daily. New societal norms and conditions threaten a world which belongs to the broad category of play. Play more often than not is organized into a “game” which normally incorporates a variety of recognizable elements: rules, the description of the activity, the number of players and its location. When the game is played together by participants from different ethnic backgrounds, an alternative set of interactions may be required. These situations inform and create a new socialization between the players; lessons which prepare children for behavioural skills necessary for adult life especially where migrations and movements between ethnic groups are prevalent. As mechanisms for socialization, examples of Nigerian children’s games are explored.

Nigeria has been exposed from earliest times to a great diversity of cultural and racial influenc. more Nigeria has been exposed from earliest times to a great diversity of cultural and racial influences. Its history is reflected in the choices of habitation (architecture), livelihoods, modes of dress and personal adornment. The evolution and understanding of the latter expression of the style or character of a society-dress and personal adornment-is continually being expanded by archaeological research, the analysis of extant documents and the records, and the memories of her elders. While the language of dress and fashion is diverse, the term "dress" alone has many synonyms-body covering, clothing, costume, habiliments, garments, apparel, attire, vestments, livery, and so on. Mode, custom, practice, and guise are synonymous with the terms style and fashion, and are controlled and influenced by the manner of carriage, poise, line and colour. These latter expressions are further influenced by the economic, moral, political and socials mores of the society. Throughout the existence of Man, his dress and accoutrements have obviously contributed towards his outward and visible appearance. While the human shape is basically the same across the globe, each society or group of people have found, invented, created and altered this form or shape to suit the needs and times of their society. Consider the contrast of 'shape' as seen in the Oba of Benin in ceremonial attire, with that of the Emir of Kano (Fig. 1) Figure 1

MUKABALA: Journal of Performing Arts and Culture1 (2008) Ahmadu Bello Univ., Dept. of Theatre & Performing Arts, Nigeria , 2008

In an attempt to find a relevant and positive link between traditional education through masquera. more In an attempt to find a relevant and positive link between traditional education through masquerade and storytelling, and modern education, the educative theatre technique of using “walket-puppets” (human-sized puppets manipulated by an actor-puppeteer) was initiated in Calabar, Nigeria during the middle 1980s.

Celebrating Their Seasons: An account from Trinidad in the Caribbean of student community drama f. more Celebrating Their Seasons:
An account from Trinidad in the Caribbean of student community drama facilitators assisting severely oppressed widows and other lonely elderly people to re-establish self-esteem. The specific social context in which these projects take place are explored, following the premise that drama and other arts activities, encourage a positive revival of early memories through strategies and techniques of dramatic play, and could help the aged find some justification of existence.
Widows of East Indian former indentured labourers; a group of bitter male geriatrics who have no faith in the youth of their day; a large group of elderly men and women sequestered in a multi-storied home for the aged; and a very rural community of women who regret being unable to help their growing children with school work, due to their own lack of education, all participate with enthusiasm or reluctance in drama in education sessions facilitated by young university drama/theatre students. The lessons learnt in searching for ‘a change in understanding’ were sometimes more memorable for the student facilitators than for the elderly.

Caribbean nations represent a confluence of cultures from the four corners of the earth—a uniqu. more Caribbean nations represent a confluence of cultures from the four corners of the earth—a unique combination of ethnicities, nationalities, languages, and topography. These island nations have a cultural complexity that has spawned creative energy and natural ability which has produced indigenous perspectives and practices in the arts that are specifically Caribbean and non-Western, gaining international recognition and replication, (for example the musical and artistic forms steel pan, reggae, rapso, dance hall, calypso, and carnival). Unfortunately, not all members of the community—young or old—have the opportunities or the exposure to the healing opportunities that the creative arts encourage. This most evidentially is due to the increasing crises associated with crime and violence (often drug-related); communal and gang warfare, and the consequential disruption in family life; child abuse, domestic violence, gender inequalities, and male under-achievement… and so on.
In order to give young people and their supporting and connecting communities an opportunity to dialogue and re-address social challenges, the Department of Creative & Festival Arts and a number of its outreach programs, most specifically Arts-in-Action, have recognized that the art of doing and bringing the truth—visibly and viscerally—into their lives can naturally unify and integrate the community. Transformational arts, such as drama and theatre, must transcend cultural and temporal boundaries, for as Bertolt Brecht so many years ago declared—they must break down the fourth wall and transform audiences into active participants if they are to be pro-active and not just participants in escapist theatre experiences.
Most recently incorporating the process of a collective exploration through research, improvisation, and the active partnership and collaboration with an inclusive range of communities, a product was created in order to unlock memory—the memories and experiences of the 1970s Black Power Movement. This “product” engendered a renewed vision of history in order to take responsibility for tomorrow. With its episodial structure, its fusion of languages—English, Creole, Hindi, song, chant, refrains, calypsos, conversation—as well as its incorporation of the immediate environment and the audience into the action of the history being played out, through an interactive promenading journey, a fusion of a number of beneficial arts education social-cultural values was experienced. Participants reported a greater awareness of civilization and their history; an increased appreciation of cultural differences and recognized the truth which had been suppressed. The awareness and therefore the judgment to source ways of formulating, giving shape, and finding a creative solution to societal issues was and is perhaps the most formidable result. This will ultimately have implications and significances for our unique arts-in-education and education-in-the-arts agendas which will be difficult to ignore: namely their transformational quality. Our responsibilities as facilitators of this process must be truthfully acknowledged and given genuine avenues for sustainability.

Using a variety of interactive Theatre methods, this paper proposes the use of "Walket-Puppets" (. more Using a variety of interactive Theatre methods, this paper proposes the use of "Walket-Puppets" (human-sized puppets manipulated by hooded actor-puppeteers) in order to offer valid theatrical exchanges between spectators and performers, the former who are encouraged to offer solutions to the issue or crisis presented.

Games are a cultural universal. “Game” is a word, variously used, to mean play, sport, contest. more Games are a cultural universal. “Game” is a word, variously used, to mean play, sport, contest, trick, or jest. Further recognizable phrases exist each related to or referring to the “games” we play in life. Once there was a time when games were a serious form of oral narrative, cultivated and played by the young, expressing the manner in which they perceived nature and their social order, and their wish to satisfy those needs and wants. Like folk tales, games were a reflection of the social order in a given historical epoch. While, traditionally, games were played for entertainment and recreation, more often than not, they were imitations of adult activity, or contained survivals of activities that once involved the whole community. Every aspect of adult life could be seen in children’s games, which were often watched by their elders for the purposes of correction. Yet the official games of children and adults differ from the serious pursuits of life, in that they are normally played with rules or shifting agreements and are often decided by skill, strength or luck, performed or played within a context that defines them as games or amusements.

While the traditional games of children, their amusements and pastimes may continue to be an intrinsic part of human existence for some societies, their functions, modes of playing, apparatus and styles continually shift and change. During the past three or four decades, more than during any other period of history, games have been drastically influenced by ‘popular’ media and the changing urban and rural family life styles around the world. Today, it is rare sight to see children playing traditional games, or trying out newly invented or inspired song and verse games, or being allowed to experiment and display their physical or verbal adeptness in the playground. The tradition of this has now been relegated to the history books.

It is to address or call attention to this lack that this study attempts to share some of legacy of traditional Nigerian children’s games. While these games collected between 1968 and 1988, it attempts to hypothesize which, if any, of the original Nigerian games reached Caribbean playing fields and there joined by the many reflecting European origins. Exploring the culture of children’s games helps us to understand how the young learned to assimilate the social, political and economic order of which they were a part. Furthermore, it allows us to understand, as well, how the young arrive at a comprehensive and useful awareness of their place in the global scheme of things and then obtain the fullest appreciation of the roles they can play in it.

Dani Lyndersay – [RADA (London), M.A. Victoria, Canada, Ph.D. Ibadan, Nigeria] Senior Lecturer and Former Head of the Department of Creative and Festival Arts at the University of the West Indies, Trinidad and Tobago. She is the founder of the award-winning outreach programme, Arts-in-Action and has lived and worked in theatre and academic institutions in Canada, Israel, Holland, Nigeria, and Trinidad.

Dani Lyndersay – [RADA (London), M.A. Victoria, Canada, Ph.D. Ibadan, Nigeria] Senior Lecturer and Former Head of the Department of Creative and Festival Arts at the University of the West Indies, Trinidad and Tobago. She is the founder of the award-winning outreach programme, Arts-in-Action and has lived and worked in theatre and academic institutions in Canada, Israel, Holland, Nigeria, and Trinidad.

These colors evoke a sense of being in nature and align with the belief in the sacredness of the Earth. **Symbols** play an essential role in Wiccan-inspired interior design. Design elements like pentagrams, triquetras, and the symbol of the triple moon are commonly incorporated into decor pieces. These symbols hold personal meaning for those practicing Wicca and serve as reminders of their spiritual beliefs. **Lighting** is another important aspect of Wiccan-inspired interior design. Candles, in particular, are often used to create a soft and magical glow in a space. Their flickering flames are believed to enhance spiritual connection and create an intimate atmosphere. **Altars** are commonly found in Wiccan-inspired interior design. These dedicated spaces feature items such as deity statues, crystals, herbs, and personal mementos. Altars serve as focal points for meditation, spellwork, and connecting with higher powers. When it comes to **furnishings**, simplicity and functionality are valued in Wiccan-inspired interior design. Clutter is often minimized to allow energy to flow freely within a space. Furniture pieces are chosen for their practicality and comfort, with a focus on natural materials. In conclusion, Wiccan-inspired interior design allows individuals to create sacred and magical spaces within their homes. By incorporating elements of nature, symbols, and personal beliefs, a spiritual and harmonious atmosphere is achieved. Whether one practices Wicca or simply finds inspiration in its principles, this design style offers a unique way to connect with the divine within the comforts of home..

Reviews for "The Power of Intent: Setting Wiccan Inspired Design Goals for Your Home"

1. Jennifer - 2 stars

While I appreciate the effort to create a unique and distinctive interior design, I feel like the Wiccan inspired theme goes too far. The overall aesthetic is dark and gloomy, with an abundance of symbols and imagery that can be quite overwhelming. Additionally, the heavy reliance on black and other dark colors creates a somber atmosphere that I find quite oppressive. I prefer a more light and airy space, so the Wiccan inspired interior design is not to my taste.

2. David - 1 star

I must admit, I was quite disappointed with the Wiccan inspired interior design that I recently encountered. The space felt cluttered and chaotic, with an excess of mystical objects and trinkets crammed onto every available surface. This not only made the room appear smaller but also gave it a cluttered and untidy feel. Furthermore, the dark color scheme and heavy use of occult symbolism made me feel uneasy and uncomfortable. Overall, I found the Wiccan inspired interior design to be overwhelming and not conducive to a relaxing and inviting atmosphere.

3. Sarah - 2 stars

As someone who appreciates a more minimalist and clean aesthetic, the Wiccan inspired interior design fell short for me. I found the combination of dark colors, intricate patterns, and mystical elements to be overwhelming and visually chaotic. The space lacked a sense of cohesion and tranquility that I personally seek in interior design. While I understand and respect the cultural and spiritual significance associated with Wiccan practices, the interior design style did not align with my personal taste and preferences.

Elemental Altars: Creating Sacred Spaces for Rituals in Your Home