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Balancing Act: A Discussion of Gender Roles within Wiccan Ritual, A

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(1)

A Balancing Act:

A Discussion of Gender Roles within Wiccan Ritual

Elizabeth Shuler

University of Wyoming

(2)

Wiccan Ritual

The liminal space of Wiccan ritual

modifies practitioners’ gender identities

by inscribing both masculine and feminine

identities upon the individual to create

(3)

Turner’s Theory of Liminality

“Liminality may perhaps be regarded as

the Nay to all positive structural

assertions, but as in some sense the

source of them all, and, more than that, as

a realm of pure possibility whence novel

configurations of ideas and relations may

arise” (1967: 97).

(4)

Turner’s Theory of Liminality

“No status, insignia, secular clothing, rank,

kinship position, nothing to demarcate

them structurally from their fellows”

(1967: 98).

(5)

The Ritual

The Circle Casting helps to create

liminal space

(6)

The Altar

Athame

Earth

Element

Air

Element

Chalice

Goddess

Candle

Antlers, God

Symbol

Plant, Goddess

Symbol

Water

Element

Fire

Element

Altar

Cloth

God

Candle

(7)

The Ritual

The Closing of the Circle brings the

practitioners back to everyday life.

(8)

The Great Rite

The Great Rite is a performance of the

union of the god and the goddess.

(9)

The Great Rite

“The couple enacting the Great Rite are

offering themselves, with reverence and

joy, as expressions of the God and

(10)
(11)

Conclusion

Whether the liminal space, with its

propensity towards equality and unity,

gave way to the belief of balance or

whether the belief happened to fit into

the liminal space of ritual, it is clear that

Wicca is a religion of balance.

(12)

References

1. Butler, Judith P. 1999. Gender trouble feminism and the subversion of identity. New York:  Routledge.

2. Bloch, Jon P. 1998. New spirituality, self, and belonging how New Agers and Neo-Pagans talk about themselves. Westport, Conn: Praeger.

3. Farrar, Janet and Stewart. 1996. Witches' Bible the complete witches' handbook. Custer, Wash:  Phoenix, Distributed in the U.K. by Robert Hale Ltd.

4. Farrar, Janet and Stewart. 1987. The Witches’ Goddess The Feminine Principle of Divinity.  Grand Rapids: Phoenix (WA).

5. Farrar, Janet and Stewart. 1989. The Witches' God Lord of the Dance. Grand Rapids: Phoenix  (WA).

6. Fisher, Amber. 2002. Philosophy of Wicca. New York: ECW.

 7. Hume, Lynn. “Creating Sacred Space: Outer Expressions of Inner Worlds in Modern Wicca.”  Journal of Contemporary Religion 13 (1998): 309-319

 8. Hutton, Ronald. 2000. The Triumph Of The Moon : A History Of Modern Pagan Witchcraft.  Oxford ; New York : Oxford University Press.

9. Pearson, Joanne. 2007. Wicca and the Christian Heritage Ritual, sex and magic. New York:  Routledge.

10. Pearson, Joanne. “The History and Development of Wicca and Paganism.” In Belief Beyond Boundaries: Wicca, Celtic Spirituality and the New Age, edited by Joanne Pearson, 15-

 54. Bath: The Open University, 2002.

11. Pearson, Joanne. “Witches and Wicca.” In Belief Beyond Boundaries: Wicca, Celtic Spirituality and the New Age, edited by Joanne Pearson, 133-172. Bath: The Open  University, 2002.

 12. Pearson, Joanne. “Inappropriate Sexuality? Sex Magic, S/M and Wicca.” Theology &  Sexuality 11 (2005): 31-42

13. Turner, Victor. 1995. Ritual process structure and anti-structure. New York: Aldine de  Gruyter.

14. Wagar, Samuel. “The Wiccan ‘Great Rite’—hieros gamos in the modern West.” Journal of

References

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