Dark Germanic Heathenism Pdf
Troy Wisehart.GERMANIC ESOTERIA. An Interview with Troy Wisehart of Wodhanazson by Emanating from the dark and misty forests of the Pacific Northwest Wodhanazson continues to evolve along musical runical lines, drawing with it both soul and sound. Based in the gray sound zone that exists between Seattle and Portland, Troy Wisehart is the man behind this ritualistic performance project. I have had the good fortune—or rather, my wyrd is good enough—to see Wodhanazson on a number of occasions, and I have always been uplifted by the high mystical intensity coming through. Heathen Harvest: Wodhanazson is a spoken-word project, as well as a musical project. You are known as both a poet and a musician.
.GERMANIC ESOTERIA. An Interview with Troy Wisehart of Wodhanazson by Juleigh Howard-Hobson ___ Emanating from the dark and misty forests of the Pacific Northwest. Listen to dark germanic heathenism tracks and watch videos of dark germanic heathenism artists. Top dark germanic heathenism artists. Germanic Heathenry - Skadi Forum. Welcome to Skadi Forum, the largest. Germanic online community forum where you can join over 4. To gain full access to.
Your poem “Baldr’s Temple” has appeared in “” and you have performed it most recently with Josh McBride of the Portland, Oregon neofolk band playing synthesizers and Ted DeBray of Olympia, Washington on wooden box drum. Undoubtedly, despite the fact that you have quite an underground following, there are lots of people who don’t know that such a project even exists—what with literature, spoken word performance, and music typically coming from distinctly separate worlds.
What is Wodhanazson? What does the name mean? What was it that inspired you to name your project this? Troy Wisehart: Wodhanazson is a ritual entity intended to carry on the oral tradition of the ancient Norse poets and myth makers. In addition to their entertainment value, the information conveyed in these stories through metaphor and allegory is eternally valid and useful on a very deep and primal level. Even a lifetime of study and contemplation can only scratch the surface of the mysteries hidden in the ancient lore of the Norse.
Dark Germanic Heathenism
“Wodan” is, of course, Odin, and his name means spirit. The “az” at the end of this form of his name indicates that he is the master of spirit, possession, inspiration, and the ecstatic state which must be attained to perform magic.
Germanic Paganism
The “son” at the end of the name simply means “son of,” referring to myself as one who walks the Odian path. Of all the Norse gods, with the exception of Freya, who inspires me in different ways, it is Odin who inspires me most and who I aspire to emulate. It seems only natural and logical that I should name my project after him. Troy Wisehart TW: Ritual is very important in helping me to maintain the connection with the spirits and energies that inspire me. My solitary rites coincide with the lunar cycle and my group ritual is with the. Daily meditation is also key in helping me to remain focused on the things I consider important.
Germanic Neopaganism
It’s how I achieve and maintain my mindset. These rituals and meditations may contain elements of seidr, but I won’t say I’m a seidhu. I’ve had a few experiences with seidr; perhaps if the need arises I might do it again. HH: You’ve said that you walk the worlds that lie between the branches and roots of the world tree, Yggdrasil. Is what you encounter in these other worlds reflected through the project that is Wodhanazson? How do you translate those numinous otherworld moments into something that we can listen to and follow in this one? TW: My experience with these things is limited to several occasions very early on in my magical studies.
Those encounters shaped my view of the reality of the Norse cosmology and changed me as a person. The things I discuss in the poetry and prose of Wodhanazson are very real to me.
The fact that I see the myths in this way comes out in the performance of this material. HH: Do you appreciate being labeled “Germanic Esoterica”?
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How about Cascadian? TW: I invented the phrase “Germanic Esoteria” because there isn’t a specific label for what Wodhanazson does. “Cascadian” does apply to a certain extent, but I’ve spent time in quite a few places that have also been an influence on me. Wodhanazson is not limited to one specific region. HH: Do you consider Odian artists such as yourself as conduits for Odinic inspiration, or do you consider them (and yourself) to be active participants in the mighty deed of artistic creation? Is there a difference in the end? TW: Certainly Odin is the archetype I try to emulate in the creation and performance of Wodhanazson material.
The myth of the Poetic Mead tells how Odin let a portion of Odreorir known as “The Poet’s Share” come to Midgard. This is the source of man’s creativity and ability to achieve the ecstatic state in which inspiration comes. HH: Your spoken word/chanted tracks are taken from the “Poetic Edda,” The Norse Myths, and other ancient, holy, and philosophical sources. But Wodhanazson has other tracks such as the rollicking chant-like that hail from a much more ruggedly Midgardian base.
How do all of these relate to each other? TW: ( laughs) I was enjoying the singing of the Wolves that night at Ulfheim in Lynchburg, Virginia and decided to record some of it with my SoundCloud app on my phone. It isn’t related to Wodhanazson specifically except as one of the many experiences that shape my thought and way of being. HH: Speaking of the Wolves of Vinland, you were recently made a patched member of this Tribe. Care to talk about this aspect of Wodhanazson? TW: The Cult of Odin has appealed to me ever since I learned of it in a book about mythology as a teenager. It was years later that I finally discovered that people were actually still practicing the Old Norse religion.
I sought out various groups and learned what I could over the years. I was godi of Falcon Kindred for over fifteen years and gained a great deal of insight through that experience. Over the course of time, I attended a lot of heathen events, met a lot of people, and saw how they did things and who they were. I’d had some contact with a few of the Wolves online for quite a few years as well and always admired them.
Finally, my travels brought me to the East Coast and I began attending moots at Ulfheim in Lynchburg, Virginia. Over the course of about a year, I was invited to prospect and after six or seven months I accepted. A year later, I took the oath at the tenth Feast of Foundation Moot at the horg (stone altar) of Ulfheim and received the white wolf head patch of the Wolves of Vinland which I proudly wear on my back.
Troy Wisehart HH: You do your own artwork, what is your inspiration there? TW: My art is an expression of what I feel are the influences in my life. Most often it consists of symbols like Runes or magical staves. The meanings of the symbols themselves as well as their placement in the piece help to convey the message. The viewer might only understand these images on a subliminal level, but that is the most effective communication.
HH: How does environment affect Wodhanazson? Would you be the same artist if you did not live where you do, did not believe what you believe, or did not experience what you experience where you experience it?
TW: As I mentioned previously, I have lived in many places. I was given the name Vegtam in the Wolves of Vinland, which is one of Odin’s names meaning “The Wanderer.” I have been affected by each of the environments where I have lived. Mostly though, it is my beliefs that influence my work more than anything. I try to express the mental images and impressions that my spiritual experiences have made on me. I try to convey the atmosphere of the Norse religion as I perceive it. HH: Lucky 13.
Now this interview is turned over to you. Do you have any further words on anything that you’d care to impart? TW: The poetry of the Eddas comes from an ancient oral tradition. It is meant to be sung and heard out loud. The experience is entirely different from simply reading it silently to yourself.
Some of the original meaning of the poetry is lost in translation but the power is still there. The value of committing Eddaic poetry to memory cannot be underestimated. Our memories shape our thoughts, our thoughts shape our actions, and our actions shape our lives.