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We Are Pagans of Color
This is a blog for and by Pagans of Color.

We are different people, from different Pagan traditions, with different experience levels, and from different ethnic backgrounds. Together, we form a strong community with a great deal of valuable knowledge and perspectives.

In our experience, we’ve found that having a safe space within the Tumblr Pagan community is essential. The recent controversy surrounding the mere idea of a Pagans of Color blog has made it clear to us that this space is necessary. It is a place we are welcome, comfortable, and free. We can write about our traditions and our experiences among people who understand and relate. We can celebrate our heritage and our practices.

However, while this blog is a place for People of Color, it is not “exclusive”: anyone can follow, ask questions, reblog, and engage. We encourage (polite) questions - if you want to know about or have a question that concerns Pagans of Color, please ask Pagans of Color. Don’t ask other people. Ask us.

Please feel free to submit content that would be appropriate for this blog. If we feel it’s a good fit, we will post it. But in this space, we have the power to decide.

We look forward to engaging with all of you in a spirit of openness and learning.

Pagans

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nemontemi-ask-the-gods:

pagansofcolor:

XIPE TOTEC, «Nuestro Señor el Desollado», Dios del Rejuvenecimiento Primaveral y protector de los Orfebres, también conocido como «El Tezcatlipoca Rojo». Tenía poder para provocar y curar enfermedades, especialmente de los ojos, viruelas; enfermedades relacionadas con la piel como las postemas que se hacen en el cuerpo y la sarna.

http://red-dandellion.deviantart.com/
visiten su galeria, ella fue quien diseño al buen Xipe

Gracias por la link! 

nemontemi-ask-the-gods:

pagansofcolor:

XIPE TOTEC, «Nuestro Señor el Desollado», Dios del Rejuvenecimiento Primaveral y protector de los Orfebres, también conocido como «El Tezcatlipoca Rojo». Tenía poder para provocar y curar enfermedades, especialmente de los ojos, viruelas; enfermedades relacionadas con la piel como las postemas que se hacen en el cuerpo y la sarna.

http://red-dandellion.deviantart.com/

visiten su galeria, ella fue quien diseño al buen Xipe

Gracias por la link! 

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— tagged :
 #magwayan
 #pinay
 #pinoy
 #goddesses
 #deity
 #mythology
pinoy-culture:

squeegool:

Magwayen - The goddess of the sea who is believed to take the kalag (soul) of the dead in Sulad (land of the dead).

Magwayen is also one of the primordial deities for the Visayans right along with the sky God, Kaptan, who is mentioned in a Visayan creation myth as being one of the first two deities and with Kaptan who she married, she helped to create the first man and woman by planting a seed which grew into a reed where the first man, Sikalak (Si Kalak), and the first woman, Sikabay (Si Kabay) were born from.
She is the goddess who is the one who ferries those who have died in her boat and brings them to the God Sumpoy, God of the Underworld, who then gives the souls to the God Sisiburanen, who takes in all souls, good or bad, and brings them to Mt. Madyaa’s, the home of the gods, where the Visayans living in the coastal regions were believed to live out their afterlife or in a tall mountain in Borneo.

pinoy-culture:

squeegool:

Magwayen - The goddess of the sea who is believed to take the kalag (soul) of the dead in Sulad (land of the dead).

Magwayen is also one of the primordial deities for the Visayans right along with the sky God, Kaptan, who is mentioned in a Visayan creation myth as being one of the first two deities and with Kaptan who she married, she helped to create the first man and woman by planting a seed which grew into a reed where the first man, Sikalak (Si Kalak), and the first woman, Sikabay (Si Kabay) were born from.

She is the goddess who is the one who ferries those who have died in her boat and brings them to the God Sumpoy, God of the Underworld, who then gives the souls to the God Sisiburanen, who takes in all souls, good or bad, and brings them to Mt. Madyaa’s, the home of the gods, where the Visayans living in the coastal regions were believed to live out their afterlife or in a tall mountain in Borneo.

— 3
— reblog
— tagged :
 #oya
 #orishas
 #orisha

Oya Queen of Destruction Keeper of the Cemetary Protector of Women Part 1 

by Jeannie of Global Witches

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ancega:

Un regalo de el amor de mi vida el pentagrama con el anillo y el de abajo me lo presto es una piedra lunar.

ancega:

Un regalo de el amor de mi vida el pentagrama con el anillo y el de abajo me lo presto es una piedra lunar.

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blackmadonnajuju:

The war is over. The time is now for forward movement void of obstacles. The cycle is complete. Gather all the lessons learned and apply them as you walk through the door of newness of opportunity. The vail of illusion has been removed as you now move with clarity of perception.

blackmadonnajuju:

The war is over. The time is now for forward movement void of obstacles. The cycle is complete. Gather all the lessons learned and apply them as you walk through the door of newness of opportunity. The vail of illusion has been removed as you now move with clarity of perception.

— 10
— reblog
— tagged :
 #vodou
 #candle magic
 #candle magick

Advance Candle Magick with Chris ( Dominican Vodou) 21 divisions from Global Witches

— 13
— reblog
— tagged :
 #curandera
 #oaxaca
 #curanderismo

Curandera - A short (seven minute) piece that shows a rural curandera treating various village children with plants and other methods including various types of limpias or cleansings. Through interviewing the curandera we learn what is the most important thing that enables healing. With english subtitles.

The subtitles aren’t perfect but are pretty straight forward. This was filmed in Oaxaca, Mexico. Please keep in mind that curandera practices vary throughout regions & families/lineage. 

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divinemoon:

Drumming and dancing in Santería aren’t just for entertainment. They’re religious rituals performed to honor the Orichás and to entice them to interact with humans through trance possession.  During a tambor (drumming ceremony) the sacred batá drums are played. These are three hourglass shaped drums, each with two heads. They rest across the player’s lap in a horizontal position, and and played with both hands.  These drums have been ceremoniously prepared and charged with the spirit of the drum, called Aña,  and they’re only used for religious purposes.  They’re considered holy objects because they communicate with the Orichás.  Drummers must undergo intensive training and special ceremonies in order to have the right to play the drums. In traditional Santería communities, the drums are played only by men.  The largest drum is called the iya, or mother drum.  It’s the leader, and calls for changes in rhythms and songs as the ceremony progresses.  The middle sized drum is called the itotele, and it carries on a conversation with the iya drum, to create a complex rhythm.  The smallest drum is the okonkolu, and this maintains the underlying beat of the syncopated rhythms.  For those unfamiliar with African style drumming, the complexity of the rhythms can be astounding. They reproduce the tonal language of the Yoruba people, speaking to the Orichás in their native tongue.  Generally, a singer known as the akpwon performs with the drummers. He or she acts as master of ceremonies and leads the call and response singing of the assembled worshippers.  

divinemoon:

Drumming and dancing in Santería aren’t just for entertainment. They’re religious rituals performed to honor the Orichás and to entice them to interact with humans through trance possession.  During a tambor (drumming ceremony) the sacred batá drums are played. These are three hourglass shaped drums, each with two heads. They rest across the player’s lap in a horizontal position, and and played with both hands.  These drums have been ceremoniously prepared and charged with the spirit of the drum, called Aña,  and they’re only used for religious purposes.  They’re considered holy objects because they communicate with the Orichás.  Drummers must undergo intensive training and special ceremonies in order to have the right to play the drums. In traditional Santería communities, the drums are played only by men.  The largest drum is called the iya, or mother drum.  It’s the leader, and calls for changes in rhythms and songs as the ceremony progresses.  The middle sized drum is called the itotele, and it carries on a conversation with the iya drum, to create a complex rhythm.  The smallest drum is the okonkolu, and this maintains the underlying beat of the syncopated rhythms.  For those unfamiliar with African style drumming, the complexity of the rhythms can be astounding. They reproduce the tonal language of the Yoruba people, speaking to the Orichás in their native tongue.  Generally, a singer known as the akpwon performs with the drummers. He or she acts as master of ceremonies and leads the call and response singing of the assembled worshippers.  

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— tagged :
 #to read/
Human Beauty: Why keep it secret?

divinemoon:

We’re not very good at keeping secrets in our modern culture. Social networking and text messaging make it possible for us to follow the intimate details of our friends’ lives and receive tons of information from all around the world at the touch of a little button.  A lot of people have trouble understanding why they need to keep anything secret unless they’ve done something bad and they don’t want anyone to know about it. Secrecy suggests underhanded, suspicious behavior, and anything done in secret must be either illegal or immoral.  Otherwise, why keep it secret?  Popular magazines exist for the sole purpose of uncovering people’s secrets.  Just think what happened the last time a celebrity or politician tried to keep a secret…. It usually leads to scandal.

In Santería, secrecy has a completely different meaning, and a different social function.  It creates a barrier between insiders and outsiders, making sure the religion remains in the hands of people who will safeguard it and respect it as it was handed down to us by the ancestors. There’s no real reason why outsiders need to know certain information.  What would they do with the information if they had it? It would be useless to them, because they don’t have the aché (divine energy) to understand it fully.  Santeros don’t have an evangelical mission and don’t try to convert outsiders to the religion. It’s irrelevant if outsiders understand Santería or not.  Those who practice it understand it, that’s what matters. Santeros don’t feel any particular zeal to get everything about the religion out in the open and share it with the world.  If someone doesn’t know about Santería or doesn’t appreciate it, it’s their loss.  Contrary to what many outsiders think, the secrecy surrounding Santería isn’t there to cover up evil deeds.  Secrecy surrounds the religion because the knowledge that comes from Santería is so precious, it can’t be squandered.  No one would put a pot of gold in the front yard and stick a sign on it saying: take some.  Santeros feel the same way about the sacred teachings of the religion.  Knowledge is for those who’ve made a serious commitment to the religion, who respect tradition, and who will use the knowledge to good ends.

Sometimes it’s hard to know who’s your friend and who’s your enemy.  If you share knowledge with someone you think is a friend and later he turns against you, he can use the knowledge he got from you to harm you.  We’re not just talking about gossip and the potential for blackmail. We’re talking about spiritual power, too, because practitioners of Santería learn how to align themselves with the aché of the Orichás, who bring them health, prosperity, success, and allow them to overcome their enemies, not through witchcraft but through the spiritual protection the Orichás offer their children.  Through secret ceremonies, Santeros strengthen their own personal aché and enlist the help of the Orichás to solve problems.  The secrecy of the ceremonies isn’t to hide evil; it’s to protect what’s good and necessary in life, and keep it in the right hands. Those who are initiated into the religion have a sacred obligation to do the right thing.

In part, Santería’s reputation for secrecy goes back in time, when the slaves in Cuba couldn’t practice their religion openly.  They hid the Orichás behind the saints, and kept their ceremonies and rituals secret so those with political and social power (the masters) wouldn’t punish them.  This historical experience taught Afro-Cubans to be quiet, guarded, and cautious.  But, there is something deeply engrained in the religion itself that promotes this careful approach to life.  So many of the refranes (proverbs) of Santería talk about the dangers of talking too much, of telling people information that they can use against you, of teaching others everything you know and finding yourself suddenly replaced.  Knowing when to be quiet and listen is much more important than having the gift of gab.  People who talk too much and too freely aren’t to be trusted.  This isn’t a paranoid or fearful approach to life but, rather, one that encourages discretion.  Think before you speak. Think about what you’re saying, and who you’re saying it to. Does it need to be said, or would it be better left alone?  A person who’s fearless or smart or strong doesn’t need to declare it to the world; his actions speak louder than words. Modesty and humility are important in Santería and a person who constantly boasts about his own greatness ends up looking small in the eyes of his community.

So why are some aspects of Santería kept secret? Santeros would reply: if there’s no reason for others to know, why tell them? Tradition says these things are to be kept secret, so they’re kept secret. It’s that simple.  Maintaining secrecy is a way of honoring tradition and the sacred teachings of our ancestors. When and if a person needs to know something, the Orichás will lead him into the religion through the proper channels.

By the way, none of the information I’m writing about on this website is secret. The information I’m sharing is general enough that anyone can have access to it. Imagine it as the tip of the iceberg, the part that’s visible. There’s more under the surface, but not everyone can see it.

(Source: aboutsanteria.com)

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mayanexplore:

According to Mayan mythology and mayan legends, Ixchel was married, but had other lovers. When her husband got very jealous of her, she made herself invisible to him and spent her nights assisting women in childbirth. As protector of mothers and children, she is often depicted as a maiden with a rabbit, a symbol of fertility and abundance.
Read more here > http://mayanexplore.com/mayan_culture_det.php?m=38&c=12

mayanexplore:

According to Mayan mythology and mayan legends, Ixchel was married, but had other lovers. When her husband got very jealous of her, she made herself invisible to him and spent her nights assisting women in childbirth. As protector of mothers and children, she is often depicted as a maiden with a rabbit, a symbol of fertility and abundance.

Read more here > http://mayanexplore.com/mayan_culture_det.php?m=38&c=12

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