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Humberto Maggi surveys the historical developments that influenced the creation of the concept of the Queen of the Seven Crossroads in the Brazilian magico-religious system Quimbanda that emerged in the first half of the 20th century, as well as the ideas and techniques inherited both from Europe and Africa. He looks at how various myths, historical figures, and misunderstandings combined to create one of the most powerful pombagiras - what elements shaped her, what and who inspired her legend, and how to work with her in your own practice.
The author presents the fundamental book of kimbanda Exu. Featuring legends and mythological origins of the ritual, kimbanda organization, the Povos and their leaders, some magic symbols, the kimbanda offerings, rituals and ceremonies principal, explaining the degrees of initiation in this kind of primitive magic.
Maria Padilha is unique in as much as she did not begin HER journey as a goddess, spirit, demon, or archetypal energy. Her origins can be found in the history books as a wife and as a queen. Veronica Rivas takes us on a fascinating journey as she shares this woman's history as well as her place within the magickal hierarchy. Veronica Rivas shares with us her enthusiasm, and her love for this once queen. Maria Padilha is professionally researched and beautifully written. But then, I would expect nothing less from Veronica Rivas. This book is a truly enlightening look at Maria Padilha from a historical, devotional, and subjective point of view.
Grimoire entirely dedicated to the Afro-Brazilian Quimbanda. There are 143 pages of powerful content, including descriptions of the Kingdoms and phalanges of Quimbanda, the Chief Eshús and Pombagiras from each Realm. How to activate the sigils (points). There are scratched points (magickal sigils) of these entities, sung points (hymns), various spells for protection, and love bindings. Strong spells in graveyards. Glossary of terms, a powerful gunpowder spell for spiritual cleansing or disobsession. Translation and explanation of the meaning of the names of Eshús. It's the real Quimbanda with Nagô origins, not the fake westernized Quimbanda mixed with Jewish Goetia.
If you thought this author had written all over kimbanda in his first book, in this amazes us with much more information on this type of worship Exu and Entities of Afro-Brazilian origin, where we about ideas and knowledge also provide kimbanda Entities themselves expressed in various mediums, using historical data sources and bibliography. The concept of God in the kimbanda and the concept of Entity - The Dress and the why of it - The "Cavalo" of kimbanda - Types kimbanda mediums - Kingdom and People (Entities) of Lyre - The Realm of Darkness (Kiumbanda) - the Organization of Exu (demystifying demons) - the Pontos Sung (its function and purpose) - "Povo dos Infernos", "Povo dos Cabarets", "Povo dos Malandros", "Povo Cigano", "Povo do Oriente", with deep data about some Exu and Pombagira that integrate and their functions - the Trident (meaning) - the Pade - the Tabatinga - Cowries of Exu.
Founded in 1971, The Witches’ Almanac is a witty, literate, and sophisticated publication that appeals to general readers as well as hard-core Wiccans. At one level, it is a pop reference that will fascinate anyone interested in folklore, mythology, and culture; at another, it is the most sophisticated and wide-ranging annual guide available today for the mystic enthusiast. Modeled after the Old Farmers’ Almanac, it includes information related to the annual moon calendar (weather forecasts and horoscopes), as well as legends, rituals, herbal secrets, mystic incantations, interviews, and many a curious tale of good and evil. Although it is an annual publication, its subject matter is timeless—only about 15 percent of the content is specific to the date range of each issue. The theme of Issue 37 (Spring 2018–Spring 2019) is the magic of plants. Also included are the following articles: “Sigil Witchery,” “The Witch of Hadley,” “SeerStones,” “Astrological Plant Remedies,” “Pomba Gira,” “Coffin Ring,” and “Coefficient of Weirdness, Part 2.”
From the dagger mistress Ezili Je Wouj and the gender-bending mermaid Lasiren to the beautiful femme queen Ezili Freda, the Ezili pantheon of Vodoun spirits represents the divine forces of love, sexuality, prosperity, pleasure, maternity, creativity, and fertility. And just as Ezili appears in different guises and characters, so too does Omise’eke Natasha Tinsley in her voice- and genre-shifting, exploratory book Ezili's Mirrors. Drawing on her background as a literary critic as well as her quest to learn the lessons of her spiritual ancestors, Tinsley theorizes black Atlantic sexuality by tracing how contemporary queer Caribbean and African American writers and performers evoke Ezili. Tinsley shows how Ezili is manifest in the work and personal lives of singers Whitney Houston and Azealia Banks, novelists Nalo Hopkinson and Ana Lara, performers MilDred Gerestant and Sharon Bridgforth, and filmmakers Anne Lescot and Laurence Magloire—none of whom identify as Vodou practitioners. In so doing, Tinsley offers a model of queer black feminist theory that creates new possibilities for decolonizing queer studies.
In this provocative book, Małgorzata Oleszkiewicz-Peralba examines untamed feminine divinities from around the world. Although distant geographically, these divine figures are surprisingly similar-representing concepts of liminality, outsiderhood, and structural inferiority, embodied in the divine feminine. These strong, independent, unrestrained figures are connected to the periphery and to magical powers, including power over sexuality, transformation, and death. Oleszkiewicz-Peralba offers a study of the origin and worship of four feminine deities across cultures and continents: the Slavic Baba Yaga, the Hindu Kālī, the Brazilian Pombagira, and the Mexican Santa Muerte. Although these divinities have often been marginalized through dismissal, demonization, and dulcification, they continue to be extremely attractive, as they empower their devotees confronting them with the ultimate reality of transience and death. Oleszkiewicz-Peralba examines how these sacred icons have been adapted and transformed across time and place.