Reprint: But WHAT CAN BE DONE: Dos and Don’ts To Combat Online Sexism

But WHAT CAN BE DONE: Dos and Don’ts To Combat Online Sexism 

by Leigh Alexander

 

You may notice that a lot of things happen to do with sexism on the internet. Sometimes someone has done a sexist thing and people are talking about it. Sometimes someone has written an article about the time they experienced sexism and other people are having feelings about it.  Sometimes a particular woman or women is being harassed on Twitter and you are witnessing it.

As you know, sexism is bad, and when bad things happen, you might have feelings about it too. But how can you help? What should be done? Here is a guide:

DON’T: Tweet at women asking them “what should be done”. When someone is venting about systemic injustice, commandeering their attention with the question, “but what solutions would you recommend” is akin to walking up to a person who is on fire and asking them to bring you a bucket of water so that you can “help.”  

DON’T: Make the person who is clearly suffering from the effects of an unfair system do free work for you. If you need more information to understand what you see happening, you have ways of obtaining it: Look at someone’s profile and read their feed or their conversations. Look at links that have been posted. Google. Ask your own friends. You can find a Game of Thrones torrent from anywhere in the world, and you can find out what has happened or is being discussed without making people who are obviously upset or occupied explain it to you. Some people may have high public profiles and busy feeds; some people may even be experiencing stressful interactions, even threats. You are not helping by butting in with “link please” or “did I miss something.”

DON’T: Feel like you have to give a response. Sometimes people simply want to be heard and understood, and you do not need to prove you are a good person by offering a pithy reply or insincerely fist-shaking along. One component of sexism is that men tend to inherently expect that what they say is valuable, and that a statement from a woman cannot possibly stand alone without their contributions. It is totally and entirely possible that you might have nothing to add, and you could benefit from the conversations of those who do.

DON’T: Try to explain things. Understand that even if the person you are addressing is not an authority in her field (though she often may be, as sexism targets prominent women) you ought not automatically assume she needs you to let her know how things go in her field, unless she has asked. Experiment with the idea that her experience is not whatsoever about you and it’s not the time for you to attention-seek or offer an ‘alternative perspective’.

And absolutely don’t try to explain to a woman writer or speaker what sexism is or what is happening to her. She knows.

DON’T: Tone-police. Does she sound enraged, impatient, and bitter? Is she not being especially nice to all the people who have Tweeted at her to explain sexism, ask her how to solve sexism, or otherwise undermine the things she is saying? Too bad. You wouldn’t be nice either if you lived in a system which consistently conspired to remove your authority and devalue your work. No matter what happens, you are not the victim in the situation — do not re-center conversations on yourself and your needs and emotions by pestering angry women to talk more nicely to you.
Did she hurt your feelings? You’ll live. Ditch the passive aggressive “fair enough” and “I was merely trying to” and “as you wish” and all of this, leave her alone, and consider your obligation to be part of the solution to a system that has harmed her and made her angry. If you think women, particularly women who are public figures, should feel an equally-important sense of obligation to make you feel good about yourself while they are under stress, congratulations: You are part of the problem.

DON’T: Make stupid jokes. You might be one of tons of people Tweeting at her, tone is hard to read online, and you shouldn’t be putting anyone, especially someone who does not actually know you, in charge of figuring out your sense of humor when they are under stress. You might just be trying to lighten things up or cheer the situation, but let people be angry, let them have heated discussions if they want and need to. Imagine this: Your dog dies, and a stranger walking past thinks you should cheer up, or take it less seriously, and decides to joke about your dead dog. What would you think of them?

You aren’t the mood police, and joking when someone is upset just sends the message that you don’t want to take her feelings or challenges seriously.

DO: Express your feelings of support. When you see something unjust happen, say that you condemn it. When someone’s the victim of destructive sexist behavior, defend them– not in a brownie points-seeking way, directing your comments at the victim herself or copying women into your Tweets so that they know you’re a good guy — but in your own channels. When you see friends and colleagues passing on destructive opinions, challenge them. By engaging the issue yourself, you take responsibility.

DO: Consider the well-being of others. When a woman or group of women becomes the victim of sexist harassment in public, spotlighting them isn’t always helpful, even if it’s well-intentioned. Tweeting “Everyone currently spewing hateful bullshit @thisperson is a jerk” expresses a noble and true sentiment, but it also does two things:  puts the spotlight on @thisperson and the volume of hate speech circulating around her, and also risks attracting more jerks. Good intentions aren’t quite enough: Think about the impact your statement may have, and make sure you’re not just creating more social media noise for someone. You do not improve someone’s level of stress or overstimulation with a wall of five replies from you about how bad you feel for her.

DO: Boost the individual and her work, not her victimhood. No woman who experiences sexism in her profession wants to be known primarily for “being a woman who experiences sexism.” It is right to defend and support women, and it is right to condemn sexism, but sometimes the best way to do that is by supporting their work. Hundreds of hair-tearing tweets protesting all the terrible sexist things that are happening to so-and-so can actually have the same ultimate effect as sexism: In both cases, the woman is reduced simply to “victim of sexism”.

Instead of Tweeting “it sucks what’s happening to @thisperson, why are people so evil and why is this industry so terrible,” consider something more like “I support @thisperson, author of this impactful paper [link]” or “I respect @thisperson, one of the best speakers on [topic] that I’ve ever seen.” Be sincere and not flowery or excessive — sometimes when people are trying to diminish someone because of their gender, talking about their achievements instead is the best countermeasure. Keep the individual at the center of the story, not the people harassing her nor the fact of her harassment. Don’t say “it’s so brave, what you do.” Say “I like something you created.”

And remember, women are individuals who all do different kinds of work, not a hive mind of “women writers” “women programmers” or “harassment victims” for you to group together.

DO: Take on some of the battles. When you see someone attacking a woman — or even just asking the kind of obtuse “but why is this a problem” questions we’ve already discussed in point one, here — explain and correct. Provide resources. Injustice and inequality of all kinds happen because people don’t recognize or realize the myriad way society has written different, deeply-ingrained rules for some people versus others, and information and empathy are keys to solving that problem. It should not only be women and minorities who are in charge of disseminating this information and heading up this fight.

Offer to moderate your friend’s Twitter feed or her website comments at stressful times (if it’s someone you know personally, who would trust you with her login information). Empower yourself to do better than just watching things happen with angst and concern, feeling bad about yourself and wondering “what can be done”. Take the lead sometimes, especially when you see someone being assailed, and share the load.

DO: Be aware of your own power and how you can use it to help others. It’s tough for women when they speak or write about sexism, or become victims of public harassment, to see strangers on Twitter care about what is happening to them — but their male peers, the organization they work for, their colleagues and coworkers remain silent in public. Don’t just send her a nice note in private about how bad it looks like things are sucking and how you “have her back.” Actually have her back. Stand up in public and say that yours is not a professional infrastructure that allows women to be abused or treated unfairly. Say that so-and-so is a talented, valued asset you’re proud to work with or for.

The silence of our friends is so much more painful than the noise of our enemies, and when our bosses, important figures in our field, or colleagues do not come out to condemn sexism or acts of abuse against us it can be very lonesome — we get the message that sexism is our own problem, an inconvenient issue that no one wants to get their hands dirty with.

when men condemn sexism the response is universally approving — good man, brave man. When women talk about sexism, we get death threats. Men should use this advantage to the fullest: The essays guys often write about how sexism is wrong or how they came to understand their own sexism may set examples for other men, and that’s not unimportant, but it’s basically just patting their own backs if those men are not also signal-boosting and supporting the work of women colleagues, hiring women, and bringing attention to the accomplishments of the women in their field.

DO: Care about feminist issues all the time, not just when someone you like on Twitter seems to be being abused. Share and RT the stories and articles that have educated you so that others can learn from them. Regardless of gender, all of us have been sexist before and will probably be again, as sexism, like racism, is unconscious and related to the values we internalize in our societies growing up. If someone tells you you are being sexist or racist, it is not a slur against your character, but an opportunity to learn more about yourself and others. We should all be interested in continuing to read, learn and share with those around us. 

[Any site or outlet has express permission to reprint this article if a. link back to my site is provided b. the article is not edited or altered in any way]

http://leighalexander.net/but-what-can-be-done-dos-and-donts-to-combat-online-sexism/

Building the labyrinth, part II: Making the full-size labyrinth

In my last two labyrinth posts, I talked about the process of realizing we could build a labyrinth in the workshop at Gathering (here), and how to draw the labyrinth I decided we would build (here).

In this post, I'm going to talk about how we actually built the labyrinth on campus, in the workshop.  Hopefully this will be useful for anyone else who wants to do this, too! 


Beforehand:

There was a bunch of preparation work that had to be done beforehand.

The first was deciding which labyrinth to build.  I drew lots, and lots, and lots of labyrinths in my Book of Shadows.  I wanted one that was long enough to be an interesting walk (and for people to be able to go into trance / have a worshipful experience while walking), but not too long.

Most of the labyrinth designs I saw were either too long and too big, or too short and too small.

I played with a bunch of different seed patterns, and eventually came up with a slightly non-standard seed pattern, which resulted in this six-circuit Cretan-style labyrinth:

6-circuit Cretan-style labyrinth

(Note: click on any picture for a larger version.)

Next, using guidance from this page -- http://www.labyrinthos.net/layout.html -- I had to determine how wide I wanted the paths to be, and how much total space we would need.

With this labyrinth, by counting the paths across the labyrinth, I could see that the space we would need would be 11 times the width of the paths / aisles. 

I wanted our paths to be three feet wide, so that people who use wheelchairs would be able to use the labyrinth, if their wheelchairs could accommodate whatever surface we'd be on and whatever slope it might have.

Therefore, we needed 33 feet of space.

Now to figure out how much rope or ribbon we needed as the guide for where the lines would go.  The ribbon would need to be as long as the radius of the circle, or half the diameter of the circle.  We've already established that the diameter would be 11 path widths, or 33 feet (see above).  Half the diameter, or the radius, would be 5.5 path widths, or 16.5 feet.  I decided I wanted an extra path width, so the person holding that end of the ribbon had some space.  So:

6.5 paths x 3 ft / path = 19.5 ft of ribbon

Because I live in the UK and was buying ribbon in advance, I needed to know how many cm or m:

3 feet / path x 12 in / ft x 2.54 cm / in x 6.5 paths = 594 cm.  I decided to buy 6 m. 

(Kudos to unit analysis learned in chemistry!)

Supplies needed:

• tent stakes / tent pegs, to mark the points in the seed pattern
• a ribbon that is at about 6x the width of the aisles
• a marker to mark the ribbon
• a tape measure
• boundary marker  

There are many materials you can use to mark the boundaries of your paths.  The University where we were doing this wanted us to use field paint, so we did.  (And it was a lot of fun!) 

At this point, before I went any further, I wanted to make sure I really understood this process, and I want to make sure it worked.

I wrote myself a detailed, step-by-step instruction list.  

Then Beloved Wife and I made scale models on paper in our living room.  We took a piece of ribbon, marked it off in 3-inch intervals (1 inch for each foot), took a couple of magic markers, and laid out this labyrinth about three times on big paper on our living room floor.  This was very helpful.

Those two activities together meant I had a very solid understanding of the process, and had the resources to repeat it in large scale and under pressure. 


Beforehand, on-site:

Beloved Wife and I went to the site the Gathering Coordinator had picked, and did the following:

Marked off the ribbon.  First we tied loops on either end of the ribbon, to go around a tent peg on one side, and for a ribbon-minder to hold on the other.  Our paths were going to be three feet.  So our first mark was 1.5 feet from the far end of loop (which I'll call Loop A); the second, 3 feet from the first; and all the rest, 3 feet from the one before it, until we had 7 marks on the ribbon. 

Determined the center of the space so that we would know where the center tent peg was going to go.  Luckily the four trees were nearly equally spaced around the circle, 90 degrees off from each other.  We laid the ribbon down to give us roughly a straight line to follow, and we walked from one tree, heel to toe, across the circle to the one opposite, counting our steps.  Then we walked back half the number of total steps and put a tent stake there.  We did the same with the other two trees -- then had to jiggle a bit to get those two points to agree. 

Put tent pegs in the ground to anchor the seed pattern.   We used 17; we could have used 15, but marking all 17 points gave me additional confidence.

• We placed the center peg, marked here with arrows, at the center of the space, through Loop A on the ribbon.  
• We put two pegs 1/2 path-width to either side of the center peg.  This is the first marking on our ribbon.
• We put two more pegs to the left of the center peg, at 1-width intervals, using the ribbon to show us where.  
• Turning the right angle counterclockwise, we placed three more pegs at 1-width intervals, using the ribbon to show us where.  
• We went back to the center peg, this time turned the corner clockwise, and placed three more pegs at 1-width intervals after the corner, using the ribbon to show us where.  
• We turned the next corner clockwise -- along the "bottom" of the square now -- and placed two pegs at 1-width intervals, using the ribbon to show us where.
• Next we used the ribbon to measure 1-width intervals to place the pegs in the center of the square. 

Now we got out the field paint and began marking the ground:

-- The ground at the center peg (marked in this diagram with arrows).  This is the peg the ribbon would be anchored to. 

-- The ground at the four corner pegs. 

-- The lines of the seed pattern, as below:

• Using the ribbon as a guide, we painted from the first peg to the left of the center peg to the next peg "below" it, then from that peg out to the next peg on the right, making the right angle in the upper right corner, and also marking the ground at the base of the tent peg in the upper right corner.  
• We did the same thing in the diagonally opposite corner, making the right angle in the lower left corner and marking the ground at base of lower left tent peg.  
• Using the ribbon to guide us to a relatively straight line, we painted the diagonal connecting line between the two middle pegs of the right angles.  
• We took the ribbon and put Loop A around the tent peg at the top left.  Using the 1-width unit as a guide, we painted from the first peg to the right of it, to the first peg below it, making the curve at the upper left corner.  
• Similarly, we took the ribbon and put Loop A around the tent peg at the bottom right.  Using the 1-width unit as a guide, we painted from the first peg "above" it to the peg to its left, making the curve at the bottom right corner.

Now we had the seed pattern set and ready to build the labyrinth in the workshop.

We pulled up all the tent stakes (yes, some of them had field paint on them), and left.


Building the labyrinth as a group:

Now came the time for the group to build the labyrinth.

Volunteers needed:

• 2 volunteers to mind the ribbon, 1 at each end
• 6 volunteers to paint the lines (can be done with as few as 1, but it takes longer!)
• 4 peg minders, one at the center peg, and one at each of the two upper corners and the bottom right corner
• The person with the overall vision, directing things

(In reality, we had 3 painters at a time, because we had 3 cans of paint to work with.)

I put the stakes / pegs back in around the outside of the square, and put Loop A of the ribbon over the center tent peg (marked here with arrows). 

First swath: 

• One peg/ribbon minder at the center tent peg, to keep the peg from being pulled out of the ground and the ribbon from getting tangled.  
• One peg minder at the top left corner.  
• Three painters, one each starting from the bottom three pegs on the left-hand side of the square.
• End ribbon minder. 

We started with the ribbon reaching counterclockwise from the center peg, around the top left peg, and down to the bottom left peg.

The end ribbon minder slowly walked the ribbon clockwise, low to the ground, pulling it taut (but not too tight), from the bottom left corner to the top left corner.  The painters followed their marks on the ribbon, spraying the paint on the ground.  The director called for the ribbon to stop when the ribbon came even with the straight line at the top of the square.  The peg minder at the top left corner was the backup person for recognizing when to call the stop. 

Now it looked like this:

Second swath:

• Ribbon/peg minder at the center tent peg, to keep the peg from being pulled out of the ground and the ribbon from getting tangled.  
• Peg minders at the top left corner and top right corner.  
• Six painters.   
• End ribbon minder.

The ribbon is stretched out to the left of the center peg.

Because we had three cans of paint, we did this stretch in two parts, the three inner, and the three outer.

The first time through, we had three painters at the first three pegs / first three marks on the ribbon from the center peg; the next time through, three painters at the second three marks on the ribbon, which lined up with where the first painting had left off. 

The end ribbon minder slowly walked the ribbon clockwise, low to the ground, pulling it taut (but not too tight), from the top left corner to the top right corner.  The painters followed their marks on the ribbon, spraying the paint on the ground.  The director called for the ribbon to stop when the ribbon came even again with the straight line at the top of the square.  The peg minder at the top right corner was the backup person for recognizing when to call the stop. 
 
Now it looked like this:

Third swath:

• Ribbon/peg minder at the center tent peg, to keep the peg from being pulled out of the ground and the ribbon from getting tangled. 
• Peg minders at the top right corner and bottom right corner.  
• Five painters.   
• End ribbon minder. 

The ribbon is stretched out to the right of the center peg.

Because we had three cans of paint, we did this stretch in two parts, the three inner, and the two outer. 

The first time through, we had three painters at the second, third, and fourth marks on the ribbon from the center peg, which lined up with where the last painting had left off; the next time through, two painters at the next two marks on the ribbon, which lined up with where the last painting had left off. 

The end ribbon minder slowly walked the ribbon clockwise, low to the ground, pulling it taut (but not too tight), from the top right corner to the bottom right corner.  The painters followed their marks on the ribbon, spraying the paint on the ground.  The director called for the ribbon to stop when the ribbon came even again with the straight line on the side of the square.  The peg minder at the bottom right corner was the backup person for recognizing when to call the stop. 
 
Now it looked like this:

Fourth swath:

• Ribbon/peg minder at the center tent peg, to keep the peg from being pulled out of the ground and the ribbon from getting tangled. 
• Peg minders at the top right corner and bottom right corner.  
• Two painters.   
• End ribbon minder.

The ribbon is stretched out to the right of the center peg, clockwise around the top right corner, and down the side of the square.

The painters start at the last two marks on the ribbon, painting from where the last painting swath left off.  

The end ribbon minder slowly walked the ribbon clockwise, low to the ground, pulling it taut (but not too tight), from the bottom right corner to the bottom left corner.  The painters followed their marks on the ribbon, spraying the paint on the ground.  The director called for the ribbon to stop when the ribbon came even again with the straight line on the side of the square.  The painters were the backup people for recognizing when to call the stop, which was when their lines joined the ones already painted. 
 
Now it looked like this:

Final bits:

We pulled up all the tent pegs and the ribbon and put them away. 

Now our labyrinth was ready for us to walk!

Hopefully, this will be a useful aid for anyone else who wants to use the method of laying out a labyrinth detailed at http://www.labyrinthos.net/layout.html.

Building the labyrinth, part I: Laying it out on paper

I posted recently about the labyrinth my workshop built at FGC Gathering this summer.  I promised I'd post a detailed how-to; here it is!

Part I: Laying it out on paper

First, draw the seed pattern.  I used this seed pattern, but modified:

Original seed pattern

I wanted fewer right angles, but still the suggestion of a heart shape in the middle from having some right angles.  Here is the modification: 

First modification to seed pattern

 However, if you create a labyrinth just from this, you end up with too many choice points, and not a simple, straightforward labyrinth.  (Go ahead and try it without this next step; you'll see.)  So, I added a line: 

Modified seed pattern

First connection:

One connection

Second connection.  Basically, the connections always go from the next unconnected point on one side to the next unconnected point on the other: 

Two connections

Third connection:

Three connections

 Fourth connection:

Four connections

Fifth connection:

Five connections

Sixth and final connection:

Six connections (all connected)

Next post: how we laid this out on the grass!

Reclaiming Scotia Elements of Witchcraft Class

The Elements of Witchcraft

An introduction to Reclaiming style and tradition of Magic

8th – 10th March, 2013


at The Golden Leaf, Peebles 

facilitated by Elinor Prędota

Cost: £75 (£65 concessions)

All living beings are supported by the sacred elements of air, fire, water, earth and spirit. Join us for this fun weekend, in which you will deepen your connection with these elements, and learn the basic tools, approaches and thealogy of Reclaiming tradition.

We will meet on the evening of Friday, 8th March, to focus our attention and intention together with ritual, then move through the elements together over the weekend. By the end of the weekend, you will have begun or strengthened your relationship with the elements, and have a range of tools to support your magical practice and your spiritual path.

Email reclaimingscotia@yahoo.co.uk or visit our Facebook group “Reclaiming Scotia” to ask any questions and to request a booking form.

You can also get a booking form and this flyer from the “Core Classes” page at our website http://reclaimingscotia.wordpress.com/.

[Please note: To be more accessible, this event will be alcohol- and chem-free, and we will also endeavour to have as fragrance-free an environment as possible (including asking participants to refrain from wearing perfume, essential oils, and personal care products containing fragrance).  

For more information on helping to make spaces and events accessible to people with chemical sensitivities, and for tips for participating in such events, please see http://stasa.net/resources/fragrance-free-resources.  - sm]

Recommended article: "Things I Wish White Pagans Realized"

"Things I Wish White Pagans Realized"
http://sacredprofanity.com/2012/08/28/things-i-wish-white-pagans-realized

...far too often, the question of racism in paganism, along with all the other -isms that exist in society get brushed aside, silenced when mentioned, or are casually dismissed as being ‘not important to the circle and its workings’.  So, here’s my list of things I wish white Pagans realized when PoC (Pagans of Color) join the circle, (all of these are written in the first person singular, because these are things I WISH they realized, each PoC’s list will be different by a little or a lot, that is part of the joy of dealing with people NOT as a single voice for their ETHNICITY OR RACE, but as the INDIVIDUALS they ARE): (Read more...)

YES, yes, yes.  Thank you, thank you, thank you.

Also reposted at Daughters of Eve (in a font  I find easier to read):
http://www.patheos.com/blogs/daughtersofeve/2012/09/guest-post-things-i-wish-white-pagans-realized/

So, how did the Conference go??

I had a lovely time at the Scottish Pagan Federation Conference.  I'm glad I went.  Many thanks to the organizers for all their work!  

Somewhat at the last minute, a group of us, all from Reclaiming, tabled together with and for a handful of things:

• A Winter Solstice Singing Ritual, my book and CD: http://stasa.net
• High Jinx -- "High quality, unique magical products crafted by fey witches in Scotland." They even have a few fragrance-free items, which I sniff-tested at our table and now lust after. http://www.etsy.com/shop/highjinxcrafts
• ahamsa, Elinor's ministry and business: http://www.ahamsa.com/
• bread and roses spiritual nurture, my ministry and business: http://stasa.net
• Reclaiming Scotia (of course!): http://reclaimingscotia.wordpress.com/

This was nice, because it gave us a "home base"; the chance to meet people who came by, for those of us who hadn't been before; a chance to visit with each other between workshops and talks; a place to store supplies for later; etc.  It was also fun. :)

For me, it was also the least-stressful experience tabling I've ever had.  I think this was due in large part to the wonderful people I was tabling with, especially the ever-creative and highly-practical Lady of the East Wind.  (That's how I've decided to refer to her here, for now, especially as she stood East in our circle.)

I did not make it to all the talks, workshops, and performances I wanted to, but the ones I did make it to, I really enjoyed.  It was also lovely just to meet people and talk to people, and watch the crowd, watch people greet old friends and watch people greet newcomers...

There was also something else a little unexpected, perhaps because it hasn't happened for me in a long time in a group with other Pagans: that feeling of being with my people, among my tribe. Sometimes when I hang around with other Pagans, even when they're a great group of people or wonderful individuals whom I like, I feel like a space alien. But last weekend, I had a feeling of homecoming, and I appreciated that. 

We packed up our table and got ready for ritual.  How did that go?  I'm not ready to say too much about it yet, because we haven't had our debrief/processing meeting yet, but I can say that I had a lot of fun, I had a deep experience, I loved working with this Priest/essing team in circle, and that the folks who came and participated in the ritual were a pretty great group.  I had some moments of awe and magic.  I feel like I was faithful in my service to the Goddess.  Oh, and the ribbon wands were great! 

And Margot Adler can dance.  

Oh, yeah, and you know what else?  I'd never been part of a circle before where there was impromptu ceilidh dancing during energy-raising, but I have now! Hurrah, Scotland!

Margot Adler's "Amazing Grace," without shame

Last Saturday, I went to the Pagan Federation Scotland's Annual Conference for the first time.  (I had a great time, and I'm really glad I went.)

Margot Adler was the keynote speaker at the Conference, and she also did a chants workshop, which was wonderful. She closed the workshop with her piece "The Witches' Amazing Grace."

And I had a completely different experience with that piece than I've ever had before.  

I have known this piece for years.  I've taught it to other Witches, to other Goddess-women, to Pagans, Quakers, those who are both, to allies.  I've sung it in worship-sharing, and, very occasionally, in Meeting for Worship; I've heard it or sung it at Pagan potlucks, get-togethers, in circle, etc.

And every time I've sung it, or taught it, or have been part of a group that's sung it, or heard other people sing it... there's been a little frisson of... something.

Discomfort.  Shame.  Defiance.  Disquiet.  Fear. 

Not just for me.  Other people have often made it clear that they feel it, too. 

Saturday, for me, for the first time, it was a completely different experience. 

We were standing in a circle together, in a bright pool of light in a dark, welcoming space, holding hands, singing joyfully in harmony.

Joy and gratitude were like an electric current passing through all of us. 

With no shame, and no fear, and with joy and a simple feeling of rightness, I sang:

Amazing grace!  How sweet the Earth
That formed a Witch like me...

Yes.  She did.

How sweet that sheltered space where magic -- transformation and change -- could happen.  Where I could have the experience for a few timeless minutes of being a Witch and being completely unafraid.

------

We create those sheltered spaces for ourselves as minorities -- as women; as lesbians, gay men, bisexual people, transgender people, and queer people; as people of color; as disabled people; as poor people; as religious minorities -- in part to have spaces where we have different experiences than those we have every day.  Places where we can stand tall without being squashed.  Where we can be ourselves without danger, physical or otherwise.

Where we can begin to learn what it might be like to live without oppression, free.  

May I carry forward with me that knowledge, of what it's like to be a Witch without fear, or shame.

Amazing grace!  How sweet the Earth
That formed a Witch like me...

------ 



 (from Margot's workshop at PantheaCon 2008)