Fannypacks R Us

The Construction of the Muse Servitor

I have previously written (at length lol) about the creation of servitors, constructed-familiars, and other what-have-yous, but I wanted to touch on a more specific variety that I don't often see discussed: the muse servitor. 

Given forth by the student, the muse servitor acts as liaison to and inspiration for all things creative or scientific. It is a piece of oneself separated and fed through acts of service, giving back to its creator further insight, passion and — under the right circumstance — dauntless motivation. Are they a necessity? No, far from. But for those creatives and scholars who are, by circumstance, removed from their specialized communities and/or who struggle to motivate themselves toward artistic ends without "external" validation, the muse servitor can fill this void. Their creation can also act as a mental jumpstart on a new project, a new field of study, or be used to reinvigorate passion after a period of stagnation.

The process of creation is relatively simple but can be complicated (non-derogatory) in any number of ways at the student's preference.

To begin, gather: 

An item to embody the muse servitor — could be anything, but association is a powerful tool 

A "house" for said item where offerings will be left — it can be elaborate or not; a box, a jug, a shelf, a cabinet, even a folder on a computer

An initial offering — again, could be anything; it could be your own work (preferred) or an artifact you are utilizing to begin a project or course of study

A catalyst — most often this is the student themselves, but you could channel from almost any source: the moon, the ground, the air, color theory, the concept of relativity, etc.; get as freaky as you want with it

To complete the working:

Hold the item in hand and let your mind work. Channel from whichever medium you prefer, if you have chosen one. Let the thing take shape, applying what you must, see what sticks. You can verbalize your intentions or define the nature of the relationship if you'd like, but it isn't required. Once fully formed (by your own estimate), tie this mental/spiritual concept to the object. Again, you may voice what you are doing if you prefer. And in doing so, so is born the muse servitor: name it and place it in its "home."

Note: For those inclined toward the visual arts, this process can be done by way of practice also. For instance, you might draw, paint, sculpt, etc. a portrait of the servitor. If you have chosen to render it on a scale unbefitting a small "home," you may assign it an area by way of hanging or leaning the work against a wall, placing it on an altar, in a corner, etc. and arranging offerings around it. Writers or poets might use the written word to describe in detail the servitor's appearance and character. These collected pages may be housed as above or, as earlier stated, housed in a desktop folder

Present the initial offering. Verbalize, either mentally or aloud, what it represents. Promise to feed it when you can and ask that, should it begin to hunger, it inspire you to create, to read, to work. If you fail to meet its need, speak that it may go freely to the aether, return to the mind, or be left to its own devices.

Feed it regularly. Develop a rapport. Learn its preferences. Call to it when you need inspiration or guidance.

Et voilà!

The work is done. 

Or just beginning, rather.

I would add that "feeding" the muse servitor can be done differently or by different means beyond the one "assigned." For instance, you can do a portrait, sure, or compose a song, but you could also create a concept board or a playlist. You might also create the muse with the intention of focusing on music, but feed it drawings or readings about quantum theory instead. Work done to completion is only a part of the servitor's purview. The process is important, too. And gathering concepts, exploring alternate modes of doing and expressing, researching. Anything that feeds a well-rounded understanding also feeds the muse. And with it, the muse gives back passion and inspiration enough to continue. To keep going, keep doing, keep searching. "If not for yourself, then for me."

So for the past 4 years my mother has been on dialysis for stage 5 renal failure and has been on the waiting list for a kidney transplant. Last Monday (9/20) she finally got her kidney! This was really big news and is great for us! She can eat some of the food she couldn't before and she won't be confined to her room for 10 hours while she does her treatment!

The only "issue" is that I need to take off from work for at least 2 months to take her to the various doctor's visits she'll have once she is released from the hospital and to keep the house tidy (we have 2 cats) so she doesn't get sick. They estimate that she'll be released soon, but I don't have an exact date. This is a huge financial blow for me as I pay half of our rent and for the internet and will need gas money because the doctors are far away.

I applied and submitted the application and thankfully my job and managers have been nothing but accommodating, but I still need money to pay for bills. I make about $950 (give or take) a month, so for 2 months I'll need $1900.

Tl;dr My mom had a kidney transplant and I need $1900 to cover me taking 2 months off from work to care for her post-OP. I'd really appreciate it if I could get some financial help!

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$1170/5 months = $234 (monthly)

$234 + $65(fee for payment plan) = $299

(This amount is just for one semester)

Cash App: $utopiaa12 PayPal: GregoryParks211

$1170/5 months = $234 (monthly)

$234 + $65(fee for payment plan) = $299

(This amount is just for one semester)

The Congo spirit-work tradition lives within and gave birth to the Hoodoo tradition of the American South. I’ve been a hoodoo for many years, and now being a Palero (if only an Engeuyo at the moment, very much a student!) I can’t help but note the many, many parallels between the two Congo-based traditions. Our conjure bags, bottle-spells, doll-babies….all of these are basically Nkisi, living spirits with certain qualities brought to life with the natural power of herb, dirt, water, fire, and prayer. The only real difference I’ve seen is one of material and container, and the use of firmas. The art of the firma is something birthed from the mingling of Taino and Congo traditions in Cuba–it is very much a part of Palo Mayombe, but was birthed in the cultural mixing pot of the Americas. As such, the hoodoo tradition doesn’t incorporate firmas historically anymore than the Congolese traditions do.

The Congo Nganga who found themselves in the Americas after the slave trade had to make do with what was available to persons in those difficult circumstances. Congo religion is natural religion, and so the work came to reflect the natural environment the Congos found themselves in. An Nkisi that is a carved human figurine attracts far more attention than a flannel bag, for instance, or a simple bottle. The Congo Nganga in the Americas had to know how to work nkisi with a certain subtlety not necessary in Congo where they were free Men. 

Being an Engueyo I’m not authorized to create the nkisi of Palo Mayombe as of yet; the Nganga and the Lucero are made by full priests. I can work them, but not create them until I’m cut to Tata Nganga. However…..I’m a hoodoo from way back, and I’ve been making the hoodoo-style Nkisi for near a decade now. Having need of a spirit dedicated toward increasing my wealth and growing a business I’ve begun, I set to work creating a Bottle-Spirit.

  Found a properly dark bottle to work with, one that some a particularly artsy fellow had covered with wicker of some sort. This would do nicely. Gave it a good wash, and then set off to my little herb-garden to find the secrets to put within and give it proper qualities to work with. 

I assembled the secrets into a mason jar, before grinding them into powder in my burr grinder. This stops the full nature of it’s secrets from being determined…it’s like putting the first “seal” on the thing. I include Five-Finger Grass for attracting wealth, Blood root, Althea Root, Ginger Root (to heat the Spirit and keep it active and expansive), the body of a Dragonfly from a nearby marsh (the Dragonfly is a creature who can change directions in flight quickly, and is a fierce hunter; his spirit is an extremely important part of this nkisi), and a couple of other plants which work for the nature of this Spirit. To this I add Graveyard dirt, dirt from the Crossroads, dirt from the Marketplace and dirt from a Bank, all loamy and rich and full of life. The power of dirt (ntoto) is as prevalent in Hoodoo as it is in Palo Mayombe. I add Kaolin clay (the white river clay which symbolizes the world of Death in Kalunga) and shake the lot together. 

Next I add a green candle (to attract a money-spirit into the bottle) and prop it up to burn. As it burns down in the sun, the spirit of the bottle is brought to life in it’s fullness. There is a feel to the thing at this point, a subtle life that burns like a coal. I’m going to blow this coal into raging fire of life over time, through my sustained offerings and prayers. 

As the candle burns past the lip of the bottle and Into the bottle (now the spirit attracted is inside the bottle, “past the lip” of the bottle itself) I place the name-paper of the spirit into the bottle next to the candle, naming the spirit and giving it a symbol that I can use to call it. Which is, of course, a firma. 

At this point I have a few small innovations which are part of my having training in hoodoo and Palo at this point. Working with my Nkuyo, I created a firma and name for the spirit itself. The bottle itself sits upon a Yowa and the symbol of Nzambi, of Creation, because it’s being “birthed”. 

Once this part is done, I added the fresh rainwater, which will serve as the river between the world of the living and that of spirit, as the Mirror. I seal the top off with Coins, again a tool of wealth. Now the spirit can speak to me. I seal the thing off, and prepare the first offering. I call the spirit by name, and, using the chamalongos, ask if the ritual was a success. All of the chamalongos land speaking-side up, so that’s a resounding yes. I ask it a few more questions, and then give it an offering of honey and smoke. It will receive rum and smoke every other night, along with my Nkuyo, and the blood of a gallo or snake when I feed my Nkuyo.

I seal the bottle closed, and mark it with clay as inspired by spirit. 

Made my way out to the river with my nkisi this morning in order to wash them, and bathe them in the light of Nzambi. My nkuyo had been accumulating some growth–moss and molds and the like–on his Palos from the honey and blood offerings I’d given him. I was a bit surprised at how they thrived with all the rum I’ve been blowing on him, but I keep him in a dark and enclosed area, full of dirts and the like, with a moist atmosphere. Also……nkisi have a life-giving and concentrating potency. I’ve seen maggots and other living things appear from an nganga with no clear explanation–no recent living matter added to the Garden, and still it flowers. Beautiful. 

The chamalongos I’ve been using are ones that I made myself; my Tata has made some for me and fed them properly, and I’m very interested to see if communication with my nkuyo will be even clearer with them. Looking forward to learning that rite, I must say. Until I pick those up, these will do just fine. 

There is a river in an urban park not far from where I live; taking my Nkuyo, my Molo (part of the name of the Spirit-bottle I made not long ago…of course his full name, like that of my Nkuyo, are only for he and myself), my pipe, rum, honey, and rain water. Was going to setup the nkisi in the base of a tree for the rite, but found it best to setup right on the bank. Fed one mpemba to Molo, and two to Nkuyo. Nkuyo is always the first. 

As the candles burned and the sun beamed down, I felt first a feeling of invigoration, and then a rising of subtle current up the spine. Everything became exceptionally clear. As always when working Palo, I become aware that everything around me is conscious, and that I’m surrounded by the dead, the nature-spirits. I’d been feeling an over-abundance of anger, so I took that to the river and let is wash away. 

My guiding natural force, that which I’m most in tune with, is Watariamba. The hunter and the spark of Fire. I haven’t yet made deep contact with the force; been deciding whether to wait until I’m cut to Tata for that or not. I’m going to start leaving offerings for he and Gurunfinda in the wilderness, but probably not attempting any direct work with the forces until I have my Nganga, and an nfumbe who can mediate between this powerful force and me here in full physicality. I’ve got my hands full with building my relationship with Nkuyo.

Power figure (nkisi kozo), Kongo people, Vili group, Republic of the Congo (Brazzaville) and Gabon, ca. 1850, Wood, mirrors, resin, kaolin, tukula powder, medicinal substances

Kongo Wooden Nkisi Nkondi Sculpture Origin: Southwestern Congo/Angola Circa: 20 th Century AD

This superb sculpture is an nkisi nkondi figure, made by the Kongo people of what was once Zaire. It is a standing man, with an oversized head, an open mouth, glazed eyes and one arm upraised. The whole body is irregularly pierced with hundreds of iron nails and other objects, with organic and ferrous elements attached to them (see below). The centre of the chest bears two eminences that hold magical materials; in religious terms, this was the most important part of the sculpture, which only served as a receptacle for the bilongo’s spiritual power.

The Kongo (or Bakongo) people live in the Democratic Republic of the Congo, Angola and the Congo. They lived in a series of loosely-connected yet autonomous kingdoms, which were modified by tribal warfare from neighbouring regions and the arrival of the Portuguese. The kingdom absorbed European traditions and religion while retaining much of their indigenous culture intact. Indigenous Kongo society was based around the kingship model.

Their religious beliefs have a far wider circulation, and are based around a reverence for the dead who are believed to be able to assist in the determination of future destinies. They are also believed to inhabit minkisi/nkisi charms that can be appealed to for assistance in times of duress. This is the most notable form. Nkisi Nkondi figures – often referred to as nail fetishes – are endowed with a magical “charge” (bilongo) made from vital substances such as earth from an important person’s grave, or bodily elements from fierce animals (i.e. leopards) or abnormal humans such as epileptics. The figures are insulted and “hurt” with explosions and nails so that they will carry out the wishes of their tormentor. Some bear small bundles of textile or other organic material referred to as “dogs” – these direct the vengeful spirits to the correct source, so a fragment of goat hair tied to the nkisi would ensure that the spirit hunted down the thief who had taken the animal.

Y'all seem to be really interested in spells like these and I’ve gotten so many requests to post more stuff like this. So, here are some of my best tips and tricks I’ve accumulated over the years to make spells like this work best.

In my experience, I have had the most success with black, purple, and red candles. Purple is used for domination spells often as it symbolizes power. Black absorbs all other colors and can be used as a stand-in for any spell. Red is often used in love spells but is underrated and under- utilized in domination and other defensive spells like tapa boca (shut up) ones in my opinion and for me has proven very successful.

If you are using a doll or person representation in a spell where you are trying to dominate someone, turn the doll upside down on its head. By putting your doll upside down it puts pressure on the target to bend to your will as well as shows them they are in your control and you have them turned upside down.

Cloves. While they resemble nails which is a plus (nail someone down/pinning someone down=controling them), they are a powerful agent in domination and defensive spells alike. In a glass-encased candle, I typically stick 5 on top, but powder can be used around a candle as well.

Alum works really well for sour jars and shut up spells, it is essential for me in these types of works.

High John the conquer oil, tame sheep, and bend over oil are all oils you can make or buy at a reputable botanica. These are my favorites to use, but it all depends on the type of work your doing. if it is a love domination spell, for example, you might be better off using something like bend over if you want your partner to be submissive to you.

Keep the petition with the person’s name that it is already dressed with your oils in your shoe. Now the person is literally beneath your feet as you assert your position over them.