So, when you see trees in a forest, they stick up outta the ground, some distance from each other, and you're like 'these are unconnected critters,' right? But! The thing is! Just like the trees in the picture are connected above-ground, trees in a forest are normally connected below-ground. There's this whole complicated thing involving a symbiotic relationship with fungi, but we're gonna simplify it to this: trees connect to each other through their root systems.

And they use it to share resources, across the whole forest.

If there's a tree over here growing in soil with a lot of, like, potassium, they'll pull up more potassium than they need, and send it out through the root system to other trees that are living where there isn't much potassium.

And one of the coolest things? Trees communicate their needs. If a tree is sick or damaged or starving, they send chemical messages out through the root system that tell the other trees to send them more food and tree-equivalent-of-immune-system.

Trees will share so much of their resources, they'll even keep trees alive that are almost entirely dependent. Like this tree! The tree above is getting some energy from its leaves, but no other nutrition of its own. And it wasn't able to link up to the shared root system. So the other tree reached out and hooked up to it directly, feeding it all of the nutrients it needed!

You see it more commonly the other way around: in an old-growth forest, where the roots are well-established, you can find stumps where a tree was cut down a century ago... but if you scrape the stump it's still green wood. The tree's still alive, without a single leaf. Because all the other trees in the forest are feeding it.

I promised to talk about matriarch trees, so here's where we get to them.

In a very old forest, you have very old trees. You have some trees that are so very, very old, their own roots cover entire regions of the forest. Their leaves reach up to the sky over everyone else. And after so long, they've developed to where they can take in way more resources than they need.

So what do they do?

They feed baby trees.

Baby saplings in an old forest can't reach up to the sun. There's no light down there. And their roots are too small and shallow to dig down to the nutrients they need. So the matriarch tree will draw energy from its towering canopy, and nutrients from its massive, ancient roots, and feed them to the little trees that are too small to feed themselves. For anything she can't get on her own, she'll act as a central hub, taking in spare resources from the rest of the forest and giving them to the little ones.

And one of the best parts - she won't just do it for her own species. She'll connect to all kinds of trees, because they're all necessary for the ecosystem to work. She'll adopt the whole forest's children.

Sometimes in forests you'll find a spot where there are a lot of small trees in an open space around an old, fallen tree. People generally assume they could find more light there, or maybe the soil's more fertile from the decomposition.

But no.

Cultural appropriation occurs when cultural practices are taken out of their original context and misused by outsiders. Cultural appropriation is different from cultural sharing, which occurs naturally in any multicultural society. Eating at an Indian restaurant is not cultural appropriation. Wearing a bindi when you don’t understand its significance in Indian culture is.

Cultural appropriation is a huge issue in modern witchcraft. When you have witches using white sage to “smudge” their altars, doing meditations to balance their chakras, and calling on Santa Muerte in spells, all without making any effort to understand the cultural roots of those practices, you have a serious problem.

When trying to understand cultural appropriation in witchcraft, it’s important to understand the difference between open and closed magic systems. An open system is one that is open to exchange with outsiders — both sharing ideas/practices and taking in new ones. In terms of religion, spirituality, and witchcraft, a completely open system has no restrictions on who can practice its teachings. A closed system is one that is isolated from outside influences — usually, there is some kind of restriction on who can practice within these systems.

There are different reasons a system might be closed. Some systems require a formal training and/or initiation, but there is no restriction on who can be initiated. Reiki and some forms of Wicca operate this way. (All other forms of Wicca are completely open.) Some systems are closely tied to a complex set of cultural beliefs that may not be fully understood by outsiders, so they are closed to people outside of that culture. Kabbalah (Jewish mysticism) is an example of this. Some systems require a family lineage, so you must have been born into the system to practice within it. Zoroastrianism and some forms of traditional witchcraft fall into this category. And finally, some systems are closed as a kind of self defense, usually because they have been the target of persecution from outsiders — keeping the system closed is a way to preserve beliefs and practices that might otherwise be lost. African Diaspora Religions fall into this last category.

If a belief or practice is part of a closed system, outsiders should not take part in it. It really is that simple. If you aren’t Native American, you should not be performing smudging ceremonies. If you aren’t Jewish, you should not be practicing Kabbalah or working with Lilith as your “goddess.” If you aren’t Black, you should not be practicing Hoodoo. You get the idea.

On a similar note, just because a system is open does not mean you can do whatever you want with its teachings. You should still make a point of educating yourself on the system you are practicing and take care not to take things out of their original context. Some forms of Shinto are open, but you wouldn’t involve the kami in a Wiccan- or pagan-style ritual — Shinto has its own rules for ritual, which are very different from Western paganism. If you feel called to work with a cultural system you are not already part of, you need to be willing to put in the work of respectfully learning about and preserving that system.

It is impossible to appropriate a dominant culture. For example, in the United States, white American culture is treated as the default. There is tremendous pressure on all other cultural groups to speak English, dress like white Americans, and act like white Americans. White American culture has deep roots in Protestant Christianity, and these religious influences are enforced through social norms and sometimes through laws. Many businesses are closed on Christmas and Easter, and I live in an area where it is illegal to sell alcohol on Sunday mornings. White (Christian) American culture is literally being shoved down everyone’s throats all the time. A non-Christian immigrant wearing a cable-knit sweater, taking Sundays off work, or celebrating Christmas isn’t cultural appropriation, because they are expected to adopt these elements of the dominant culture.

It is also impossible to appropriate your own culture, even if you weren’t raised in it. For example, a Latinx person who decides to learn brujeria does not need anyone’s permission to do so. That practice is a part of their cultural heritage.

Dead cultures are a gray area, but the general consensus is that you cannot appropriate a system that isn’t connected to a living culture. For example, Hellenic polytheism is very different from modern Greek culture. A non-Greek person practicing Hellenic polytheism isn’t appropriating Greek culture, because that religion hasn’t been openly practiced in Greece for thousands of years. The same goes for many other types of reconstructionist paganism (paganism based on recreating ancient beliefs and practices) such as Kemetic (Egyptian) polytheism, Celtic paganism, Norse paganism, etc.

This isn’t to say that you shouldn’t still make an effort to be respectful of the cultural origins of these religions. If you worship the Kemetic gods, you should probably educate yourself on at least the basic history and philosophy of Ancient Egypt. You should probably try to be faithful to the ancient beliefs in your practice. But you don’t need any sort of initiation, because there is no direct connection between the ancient religion and modern reconstruction.

So How Do We Avoid Appropriation?

Know the difference between open and closed systems, and respect if a system is closed.

If a system is open or only partially closed, try to find a teacher or mentor who is already a part of that system. If an in-person mentor isn’t possible, try to find books and other resources created by people who are actually part of that culture.

Only use items or practices in your witchcraft if you have a good understanding of their cultural, religious, and/or spiritual significance.

If a member of a culture or magic system tells you their system is closed and asks you to stop using it, listen to them.

Educate yourself on how cultural appropriation contributes to systemic racism and other social issues.

Don’t try to sneak around culture appropriation. If you burn white sage to cleanse your space, you are still appropriating Native American spiritual practices (and contributing to the overharvesting of an endangered plant), even if you don’t use the term “smudging” or appropriate the entire smudge ceremony. If something is not yours to practice, leave it alone.

Learning about other cultures is not the same as cultural appropriation. Here’s a personal example: I live fairly close to New Orleans, and I think New Orleans Voodoo is a fascinating tradition. When I visit, I like to speak to local Voodoo practitioners and learn from them about their practice. That being said, I recognize that I am not a part of that practice, and I’m not about to start incorporating elements of Voodoo into my personal practice.

As a white woman, my track record is not perfect when it comes to cultural appropriation. When I first started my witchcraft journey, I burned white sage and worked with the chakra system. I didn’t know any better, and these things were presented to me as if they were open to anyone. But now I do know better, and I’m making a conscious effort to avoid appropriation in my practice.

Bells might just be the earliest form of superstitious practise that I remember. My baba attached three sakura-patterned suzu bells on my schoolbag as a kid, purportedly for good luck and protection from evil spirits – and Japan is far from the only place to have associated bells and bellringing with mystic practise. They’ve been used worldwide to ward off evil and carry messages – and in a more metaphysical sense, sound is the movement of energy through substance. Sounds have the potential to work powerful magic.

Here are some of the ways I’ve found utilising bells to be helpful to my craft. While I’m more likely to use traditional suzu type bells, your own background, path and culture will likely have its own types of bells – and as ever, bells can be ornate antiques or they can be a bottle cap in a tin can, as long as they’re used with intent.

GETTING STARTED

🔔 As with so much of the craft, if you’re new to the witching bell, it’s a matter of exploration and experimentation. Get a “feel” for what works for you and the specific bell you’re using.

🔔 It’s good practise to ensure that the bell itself is cleansed, warded and protected – you don’t want anything nasty tapping into that power. All witching tools can do as much harm as good, intentional or accidental.

🔔 A good way to begin incorporating bells into your craft is infuse them into any typical ritual that you’re comfortable with, or even just a prayer or moment of contemplation at your altar if you have one.

🔔 Give the bell a soft ring while focusing on the energy it’ll ripple and move, try to track the movements it creates and what it touches. The tone it’s sending out.  The most primal and versatile use of the bell – and what many of the below come down to – is simply another manner of physically channelling energy, giving it shape and direction.

PROTECTION

🔔 “Passive” bells such as windchimes or small bells attached to belongings you don’t want disturbed are a starting point. They will scare off some forms of spirit all by themselves, especially if appropriately blessed, charmed or enchanted. Or cursed.

🔔 Gently tolling can draw energy into a ward or circle you are forming and enforce its protective properties, or for a simple cleanse, letting the sound travel to every corner of the area you are protecting. It’s a little more “cutting” than a smoke or incense cleansing, which I view as more “gentle” forms of cleansing. Both have their uses.

🔔 Harder tolling is, in my opinion, one of the most powerful ways in which to enforce a banishing – however, it’s best to you know what you’re doing with the bell before you go bashing it about.

DISCERNMENT

🔔 Bells can have quite the effect on your perception and awareness. Ringing and then stopping, listening to the silence left in its wake, can bring you new perceptions or make things you’d previously missed obvious. Let it attune your mind and senses to something new, whether that’s in your thoughts or something with a little more presence. Visualise travelling with the sound, taking heed of the energies it touches and disturbs. Take note of the echoes – you’ll learn what they mean with experience.

🔔 A set of windchimes can let you know if something is passing through or if there’s some unusual energy afoot – and, yes, it may also just be letting you know that it’s a particularly breezy day, but that’s witchcraft for you.

CONJURING

🔔 This can be as simple as calling good energies to witching tools, spell jars, tarot decks, crystals, altars and shrines, your favourite teddy bar, anything at all.

🔔 With spirit work, it can truly help to magnify your “calling”. This can range from gently bringing your latest offering to the attention of your friendly neighbourhood house spirit – all the way to trying to catch the attention of something more. Be mindful, however. As I said, I consider bells pretty powerful tools and a call that’s too loud is not good spirit work practise for the spirit worker’s own sake. It can really help coax something out of hiding if you’re gentle with it, though.

COMMUNING

🔔 Some use bells to mark the beginning and end of a ritual, and I’ve read that in Wiccan practise an altar bell can be used to invoke the Goddess, although as a non-Wiccan, I’ll welcome corrections on that if I’m wrong.

🔔 In my experience, very simple forms of communication via bell work a lot better than anything too complex – “come here” and “stay away” have already been covered, and other than that they can serve as greetings or signals of a start or end of some practise or ritual, the opening or closing of a door, etc.

🔔 They can also serve as a warning or a litmus test regarding spirits, a signalling of your presence and awareness, lack of fear, or willingness to defend – but be prepared to deal with whatever responses these garner.

BINDING

🔔 Bindings are where you most often see that famous (clockwise) circular motion of the bell, embodying the meaning of the spell. This can be a simple binding to seal a spell or charm or enchantment, or a spirit-binding.

🔔 Personally, spirit-binding is something I do as little as possible simply due to my beliefs holding the autonomy of spirits in very high regard. However, sometimes situations arise that call for it, and I’m aware that not all bindings are unwilling. Far from it – and some spirits are dangerous when unbound.

🔔 As an animist (believing that all things, including inanimate objects, contain a spirit of their own), I consider gently nudging a spirit back into its physical form a sort of semi-binding, and that can be useful.

I’ll leave you all with a note that I am an urban apartment-dwelling witch through and through, so I understand that we can’t all be jangling away at all hours. I myself have a glass windchime in my front window that makes a distinct but muted sound when disturbed by passers-through, and highly recommend wooden ones also. I also only use my small and relatively quiet suzu bell for my crafting – one given to me by my baba herself.

Ok so I am gonna say this is my personal reference, its mainly through associations. You might TOTALLY disagree and thats chill!

Its more something to think about and a guideline of what I use myself…

Candle Magic:

Carve a candle when…. the candle represents the target, in sympathetic magic. When, essentially, the candle is a poppet and lighting it is a symbol of destruction or empowerment to the target.

Place something under the candle or before it when… you are doing general candle magic, when the candle represents empowering a wish, idea or concept.

Anoint the candle when… doing work with spirits and gods, when you mark the candle for a special purpose, when doing high magic.

Herbs and plant work:

Use dry herbs when… it is convienent to do so, when the herbs are out of season or when you need to store them in a jar or bottle for a long time.

Use fresh herbs when… the spell is very earth orientated, when doing magic on behalf of another or when the magic is sympathetic so that the herbs represent the target, within kitchen witchery.

Use flowers when… when the spell concerns love and sex, or perhaps fertility and attraction, due to flowers being the reproductive parts of the plant.

Use fruit when when… working with children as a target, or with children practising. When you work with fertility and abundance spells.

Use wood and twigs when… when the spell is for protection or binding, for hardiness.

Burn herbs (recaning/incense) when… you wish to cleanse or banish, or invoke an atmosphere - that being, for divination using herbs that are said to open up your perceptions, when banishing, burning acrid or pungent herbs.

Use oil infusions when… you wish to anoint something, when you wish to mark something permanently.

Use floral waters (rose water etc) when… dealing with spirits and gods, for glamour as it has a long history of being used to beautify.

Crystals:

Use metals (haematite, copper, ores etc..) when… you work in protection, when you do energy work due to the conductive properties of metal.

Use shell, pearl, coral and such when… you work in sea magic, when you work within emotional magic due to the element of water.

Use points when… you wish to direct magic to a target.

Use tumble stones when… you wish the magic to be gentle or manifest at a certain place on the body on a target.

Use geodes when… you work in protection, when you work with glamour aimed to obscure and hide.

Knot magic:

Use cotton when… it is convenient.

Use silk when… doing spells that benefit the target.

Use ribbons when… love spells and wealth spells, as well as confidence and beauty spells. Spells to ensure victory.

Use rope when… doing spells that aim to hurt or weaken the target, binding especially.

Poppets:

Use cloth when… the spell aims to benefit who the poppet represents, use particular care when sewing or cutting, choose colours that are appropriate to them.

Use wax when… you wish to manipulate the target.

Use clay when… wish to create fetches or servitors, when you wish to create permanency.

Use twigs when… you wish to bury or throw the poppet out, when you want the poppet to be easily destroyed by breaking or setting on fire.

Sigils:

Use an alphabet grid or circle when… you wish the sigil to be more random and less attached to you.

Combine the shapes of letters from a sentence… when your sigil is very specific and a short term goal.

I See Your Future | Camille Chew