Professional Documents
Culture Documents
Martin Lepage1
Université du Québec à Montreal
Pavillon Thérèse‑Casgrain
455 est, Boul. René‑Lévesque
3e étage – local W‑3020
Montreal, Québec
H2L 4Y2
martinlepage26@me.com
Abstract
Contemporary Paganism portrays gender in an array of different ways
and, as such, is very inclusive of sexual diversity. But how do queer
people take part in the Pagan community? More precisely, what kind
of efforts or changes do queer and transgender people have to make in
order to relate to the pagan community? To answer these questions, this
article examines how queer and transgender people proceed to differ
ent kinds of negotiations, especially regarding the concept of gender,
that allow them to either participate actively in the Pagan community
qt"vq"fkuvcpeg"vjgougnxgu"htqo"kv0"Chvgt"c"dtkgh"fgÞpkvkqp"qh"vjg"Rcicp"
community in Montreal and its take on gender, it will demonstrate, with
the help of certain concepts from queer studies and performance stud
ies, how a few queer individuals perform gender in ritual context and
how gender and queerness impact their relationship with Pagan reli
gious beliefs, practices and communities.
Introduction
Over the last twenty years, many studies have been produced about
contemporary religious phenomena some scholars have called “spir
itualties of life” or “lived religion.”2 A lot of that research has shown
Æ"Gswkpqz"Rwdnkujkpi"Nvf"42360"QhÞeg"637."Vjg"Yqtmuvcvkqp."37"Rcvgtpquvgt"Tqy."UjghÞgnf"U3"4DZ0
2 The Pomegranate 15.12 (2013)
how, today, gender is a major factor in the way people go about their
spirituality. Studies have demonstrated how lesbian, gay and bisex
ual people negotiate the meaning of gender representations within
religious traditions, especially in contemporary Paganism and God
dess spirituality, in order to heal themselves from rejection, abuse
and domination.3 In that sense, the link between gender and power
ku"wpfgpkcdng."cu"vgpukqpu"cpf"eqpàkevu"ctkug"yjgp"rgqrng"yjq"fq"
not conform to binary gender norms still want to be part of a reli
gious community in which institutions are against them.4
But how do queer people take part in the Pagan community?
More precisely, what kind of efforts or changes do queer and trans
gendered people have to make in order to relate to the Pagan com
munity? To answer these questions, this article will examine how
queer and transgendered people proceed to different kinds of nego
tiations, especially regarding the concept of gender, that allow them
to either participate actively in the Pagan community or distance
themselves from it.
I have studied contemporary Paganism in the city of Montreal
and the Pagan community that surrounds this location, extending to
of them practice only with their group, others are solitary practitio
ners who will sometimes join in a group they know from a friend or
a family member.
People who call themselves Wiccans (or witches, sometimes inter
changeably) often do so in order to claim the practice of witchcraft
as a spiritual or religious alternative to their Christian, mostly Cath
olic, upbringings, or to recognize the sacred feminine and masculine
aspects of the immanent divinity that is Nature, our planet, or our
entire universe.7
Many Montreal Pagans never join a group nor take part in pub
lic rituals, and since they rarely come under the public light, their
number is hard to estimate. Nevertheless, a large number of Pagan
people who attend public rituals and form private groups amongst
themselves can also take part in Pagan traditions other then Wicca
such as Goddess spirituality, Reclaiming Witchcraft, Druidism, Hea
vjgpkuo."Tcfkecn"Hcgtkgu."gve0"Kp"hcev."cnn"qh"vjgug"jcxg"kpàwgpegf"cv"
one point or another the life trajectories of the majority of my infor
mants. Even if there are some discrepancies between different prac
tices and ideologies, the Pagan community of Montreal is fairly
harmonious and the mixing of different traditions often results in
very inclusive rituals.
A lot of the public rituals taking place during the eight sab
bats of the year are organized by the Montreal Pagan Resource
Center (MPRC) and also by any member of the community who
wishes to participate, no matter their tradition. Very few public
rituals are organized for the esbats, or the monthly full moons, by
the MPRC. A small group from the Reclaiming tradition used to
hold a New Moon song and drums circle, but the main organizer
recently moved to California. Also, the MPRC often led their rit
uals in the back area of the occult shop The Magical Blend8 that
has, since June 2013, no more physical location. Now the rituals
7. Sarah M. Pike, New Age and NeoPagan Religions in America; Barbara Jane
Davy, Introduction to Pagan Studies (Lanham, Md.: Altamira Press, 2007); Graham
Harvey, Listening People, Speaking Earth (New York: New York University Press,
1997).
8. The Magical Blend (or Le Mélange Magique) also used to be home of the
Crescent Moon School of Magic and Paganism, a quite popular place for beginners
to learn the basics of Paganism in a noninitiatory manner. Another shop called
Charme et Sortilège can be considered a second gravitational center for French
speaking Pagans, but since none of the informants mentioned here are connected
with it, I do not discuss it here.
9. For more details about the sabbats and the Pagan ritual calendar, see Ronald
Hutton, The Stations of the Sun: A History of the Ritual Year in Britain (Oxford: Oxford
University Press, 1996).
the ceremonial dagger called the athame into the cup held by the
high priestess, is meant to symbolize the (pro)creative union of both
deities. Invoking the generative power of the sacred masculine and
feminine, Wiccans who perform this ritual believe that the union of
the two sexes can generate the energy and the power that “magic” or
the ritual tries to produce and channel.
Pagans who, for multiple reasons, tend to critique the gender
dkpct{." qt" Þijv" rtglwfkeg" cickpuv" NIDVSK" rgqrng." qhvgp" rgtegkxg"
the feminine/masculine duality in a different way which is often
expressed in their beliefs and ritual practice. Their critique of hetero
pqtocvkxkv{"cpf"jqoqrjqdkc"tgàgevu"qp"vjg"yc{"vjg{"rgthqto"vjgkt"
rituals, as they tend to leave behind the normative Wiccan duality.
What was thought as complementarity between male and female is
instead thought to be, in traditions such as Reclaiming Witchcraft
and the Radical Faeries, mostly, a metaphor for the masculine and
feminine parts in each of us. This focuses less on the creative comple
mentarity of the sexes and more on the awareness and consciousness
of these polarities within the psyche, on their acceptation and actual
ization in order to gain balance and wholeness.
However, in reality, these two interpretations of the gender bin
ary, portrayed respectively and differently in Wicca and Reclaim
ing Witchcraft, can be found within the same individual or coven
cpf"gkvjgt"eqpàkev."eqgzkuv"qt"eqnnkfg."fgrgpfkpi"qp"vjg"rgqrng"cpf"
the context.
Much research in Pagan studies has shown how Pagans (LGBTQI
or not) express their identity through bodily means such as danc
kpi."equvwokpi."ocmg/wr."gve0."cnn"qh"yjkej"ecp"tgàgev"vjgkt"igpfgt"
or sexual orientation.10 A lot of it shows the challenges that oppose
gender essentialism to LGBTQI Pagans who still have to deal with ste
reotypes regarding their identity.11 Research has also demonstrated
vjcv"uqog"tkvwcnu"ecp"dg"urgekÞe"vq"c"igpfgt."nkmg"vjg"Tgf"Vgpv."ugr
arate people of different genders before putting them together, like
12. Margot Adler, Drawing Down the Moon: Witches, Druids, GoddessWorshippers
and Other Pagans in America Today (Boston: Beacon Press, 1986 [1979]); Davy, Intro
duction to Pagan Studies; Harvey, Listening People; Pike, Earthly Bodies, Magical Selves,
New Age and NeoPagan Religions; Jesse Daniel Sloan, “The Gendered Altar: Wiccan
Concept of Gender and Ritual Objects” (MA diss., University of Florida, Orlando,
2008); Marisol Charbonneau, “Mother Earth, Father Sky? The Sexual Politics of Con
temporary Wicca and Paganism,” in Stories from Montreal 2: Ethnographic Accounts of
Life in North America’s Francophone Metropolis, ed. Tammy Saxton, Crystal Léger, and
Karoline Truchon (Montreal: Armchair Academic Publications/Concordia, 2002),
1–19.
13. Adler, Drawing Down the Moon; Marcella AlthausReid, “From the Goddess
to Queer Theology: The State We Are in Now,” Feminist Theology 13, no. 2 (2005):
487Ï94="Fwhtgupg."ÑVjg"Iqffguu"KpectpcvgÒ="ItkhÞp."Daughters of the Goddess; Pike,
Earthly Bodies, Magical Selves, New Age and NeoPagan Religions.
14. Charbonneau, “Mother Earth, Father Sky?”; Harper, “‘All Cool Women
Should Be Bisexual’”; Sloan, “The Gendered Altar.”
15. From the French, “On ne naît pas femme, on le devient”. Simone de Beau
voir, Le Deuxième Sexe (Paris: Gallimard, 1949), 285.
16. Judith Butler, Trouble dans le genre: Le feminisme et la subversion de l’identité
(Paris: La Découverte, 1990); Bodies that Matter: On the Discursive Limits of “Sex” (New
York: Routledge, 1993).
17. Eve Kosofsky Sedgwick, Epistemology of the Closet (Berkeley: University of
California Press, 1990).
18. John L. Austin, How to Do Things with Words (Oxford: Clarendon Press,
1962).
19. Jacques Guilhaumou, “Autour du concept d’agentivité,” Rives méditeranée
nnes 41 (2013): 28.
The eleven people gather in the birch grove, a small area con
tained by a circular settlement of tall birch trees that provide shade
and privacy from onlookers. Manon,22 the priestess, explains the
ritual people are about to go through. She starts by placing in the
middle of the circle a square of white fabric decorated with woven
rainbows, on which she then placed four masks. These masks are
differently shaped and painted by hand by Manon herself.
For the occasion, Manon is dressed like her interpretation of Loki,
the shape shifting trickster god of Norse mythology. In fact she is
dressed in her Harley Queen costume, a female DC Comics charac
ter who dresses to resemble the commedia dell’arte character Harle
quin, famous for his ability to change form and his status as a buffoon
and a trickster. This shows her own interpretation of the gender of
the god Loki who, like herself as a transgendered person, knows a
little bit about what having to adapt one’s body to one’s spirit is like.
Ocpqp"ikxgu"qpg"ocum"vq"Mcvjgtkpg0"Vjku"Þtuv"ocum"ku"vjcv"qh"vjg"
moon. It is painted in black with a silver moon crescent across the
whole thing, making Katherine’s face look a bit like the moon as
a whole. Katherine places the mask on her face and starts walking
around the circle, just as the moon orbits around the Earth. As an all
encompassing feminine principle, the moon, embodied by Kather
ine, will circle the ritual area until the end of the ritual.
Manon then puts on a second mask, representing the feminine.
This mask is painted in silver and green, decorated with green holly
leaves and its red fruits. This mask is usually dedicated to the Norse
goddess Gerda, as the holly plant is also associated with the femi
nine, according to Manon.23 After a moment of introspective silence,
she starts talking in a softer and higherpitched voice than usual,
cfqrvkpi"c"rtqwf"cpf"eqphtqpvkpi"cvvkvwfg0"Ujg"rgtuqpkÞgu"vjg"hgo
inine she knows, in the way she thinks women should behave in
life, with strength and determination. After Manon, Fay puts on the
mask of the androgynous. This mask is associated with Loki and is
painted with black (feminine color) and red (masculine color) free
22. Manon will be the subject of one of our case studies. She is the leader of Lok
abrenna Kindred, which I will later present as the primary focus of study for this arti
cle. Members of this kindred are the ones who organized and led this thirdgender
ritual.
23. The association of the masks with the gods and goddesses of Norse mythol
ogy was not explained during the ritual. Manon later told me that they were what
she and her friends had in hand to organize their thirdgender ritual at the time and
did not feel the need to explain their symbolic meaning to the other participants.
fgukipu0"Hc{"rgtuqpkÞgu"vjg"kp/dgvyggp."gxgt{vjkpi"vjcv"tghwugu"qt"
cannot choose one side of the binary standard or the other in a per
manent manner. Being intersex herself, Fay offers a parody of the
feminine and the masculine by showing how they can be expressed
alternatively by changing at will one’s movements and attitudes.
Finally, Simon, a transgendered man, puts on the fourth mask, asso
ciated with the Norse god Freyr and painted in green with golden
oak leaves. As such, he starts acting in a very masculine manner, looking
strong but proud, protective but also nurturing and a bit ashamed.
Following them, every participant is invited to speak as well,
mask in hand, in order to personify their interpretation of the femi
nine, the androgynous and the masculine. They express thusly what
they believe genders represent for the outside world and what they
imply in everyday society.
Once this step of the ritual is over, Manon guides the other nine
people into another type of discussion. First, the masculine mask
passes on from hand to hand as each person expresses what it rep
resents to them personally. This portion of the ritual is particularly
fkhÞewnv"hqt"ocp{"rctvkekrcpvu"hqt"yjqo"vjku"fkuewuukqp"dtkpiu"wr"
strong emotional reactions. This part of the ritual ends with the
cpftqi{pqwu"ocum"cpf."Þpcnn{."vjg"hgokpkpg"ocum0"Gxgt{qpg"uggou"
more comfortable with these two last masks and speaks more posi
tively about them.
A last turn of circle allows participants to express how each gen
der has helped them in their lives and to recall the blessings they
have brought them.
Fwtkpi"vjku"tkvwcn."igpfgtu"ctg"Þtuv"gzrnkecvgf"vjqtqwijn{0"Kp"hcev."
rgqrng"gzrtguugf"kp"fgvcknu"vjg"uqekcn"ukipkÞecvkqpu"cuuqekcvgf"ykvj"
each gender. This ritual allows, secondly, a subversion of gender
pqtou."vjtqwij"vjg"rgtuqpkÞecvkqp"cpf"vjg"etkvkswg"qh"vjqug"uqekcn"
ukipkÞecvkqpu0" Hkpcnn{." igpfgtu" ctg" pgiqvkcvgf" hqt" gcej" kpfkxkfwcn"
present as they expose the different negative and positive aspects of
the three genders they talked about. This creates a new understand
ing, both personal and collective, of the nonbinary or queer identity
of the participants. Every symbol called upon during the ritual, may
it be the circle, the celestial bodies or the masks, participate actively
cpf"ghÞekgpvn{"kp"vjg"chÞtocvkqp"qh"vjku"kfgpvkv{0"Mcngkfqueqrg"Icvj
ering offers in this way a unique occasion for LGBTQI Pagan (or
not so Pagan) individuals to negotiate their identity in regards to
both gender norms of dominant patriarchal culture and those that
are present in contemporary Paganism inspired mostly by Wicca.
24. It is interesting to note that Heathens and Asatruar, in some parts of the
world, may be the only ones who actually have spoken against the equality of rights
for LGBTQI people. It is to say how much Lokabrenna’s ideologies are far removed
from this aspect of Norse traditions of contemporary Paganism. For details about
homophobia and transphobia in Asatru and Heathenism, see Stéphane François,
Le néopaganisme: une vision du monde en plein essor (Valence d’Albigeois: Éditions de
La Hutte, 2007); Harvey, Listening People; Davy, Introduction to Pagan Studies.
When Manon felt that the different communities in which she was
involved were not proactive enough in terms of practice, she decided
that she wanted to start something of her own and invite whoever
wanted to come and join her in her celebration of the deities of Norse
mythology. Although this is a common thing to happen in the Pagan
community, most of the groups eventually drift off to create more
groups or to leave people in solitude without a group to join, rare
are the groups that get created, in Montreal, especially, by someone
like Manon with such a deep and eclectic experience of Pagan reli
gions. In fact, Manon is also very involved in the Pagan community
of Montreal at large, as she often joins the organization and the cel
ebration of public rituals for Samhain, especially, when the darker
matters of life are brought to light.
Oqtg"urgekÞecnn{."Nqmcdtgppc"Mkpftgf"ku"fgfkecvgf"vq"etgcvkpi"c"
community around Manon’s worship of Loki and the twelve Hand
maidens of Freiga. To describe these deities, Manon speaks in these
terms:
Vjgtg"ctg"vygnxg"qhÞekcn"Pqtug"iqfu0"Kh"yg"nqqm"cv"vjg"dqqmu."vjgtg"ctg"
thirtythree goddesses. About the gods, there are two books, about the
goddesses, only two pages… I spend time meditating, talking to them,
I make offerings to them each month, I write my impressions. I have
a certain amount of stories I collected because there is nothing else. I
will publish them! These are stories that have not much to do with the
other Norse gods. They are mostly goddesses stories, the ones we can
imagine women having back then. It’s inconceivable that these people
25. The story being that he proposed himself as the designated driver while he
was cooking, using a spoon without holes, and the joke being that they had to give
him that title while organizing a sex magic ritual. For Simon, this shows the Lokian
quality of the kindred for which humor and laughter are an important aspect of
sociability and religiosity.
did not have stories about their goddesses. We lost a lot of it because
of oral tradition. Assuming these goddesses still exist, we can talk to
them. This is my devotional work, to write stories about and for these
goddesses.
Oqpvtgcn"hqt"oqtg"vjcp"vygpv{/Þxg"{gctu0"Ujg"ycu"cnyc{u"cvvtcevgf"
to spiritual matters, as her father was involved in a Presbyterian
ejwtej" cpf" kp" Tquketwekcpkuo0" Cv" Þhvggp." ujg" jgtugnh" dgecog" vjg"
youngest male member of the Rosicrucians in Quebec at the time.
Around the age of eighteen, she left the traditional Martinist order
kp"yjkej"ujg"jcf"dggp"kpxqnxgf"hqt"c"ujqtv"vkog."ycpvkpi"vq"Þpf"
something that was less intellectual and that implicated the body
in a more active way. Her elders led her to Paganism. She explains:
The reason I was attracted to Paganism was because of the theatrics, of
the drama, you dress up, you have a wand, you burn incense, you do
invocations, you do something, you move, you have a sense of magic.
It’s beautiful and inspiring, it involves your body, your heart, not just
your head. This is what I was looking for, magic.
Ocpqp"pgxgt"ycu"kpkvkcvgf"kpvq"vjg"Þtuv"Ykeecp"eqxgp"ujg"hqwpf0"Kp"
fact, she was rejected from the coven because she attended a wed
ding ceremony of people from another coven. She then joined that
second coven but her need for knowledge was too great for what it
could offer. So she joined the Druidic fellowship Ár nDraíocht Féin
(ADF) and created a group called “La Clairière du Renard Argenté,”
which died in 1999. She says,
One of the reasons I gave up Wicca was because of the fact that it’s a
binary model of the God and the Goddess, and it’s very heterosexual.
What I liked about ADF, about druids, was that it was a ternary model:
vjg"Þtg."vjg"ygnn"cpf"vjg"vtgg."vjg"cpeguvqtu."vjg"iqfu"cpf"vjg"urktkvu"
of nature, the worlds that are above, in the middle and below. It was
always by three, which suited me very well, you didn’t have this dual
ity and this dependence on heterosexuality.
with whom I found a lot of diversity.” For this reason, Norse mythol
ogy and its pantheon is very important to Manon.
She is still a member of the ADF but her practice now revolves
around her Norse tradition group, Lokabrenna Kindred. As men
tioned before, this group helps her in her devotional works as she is
assisted in the revival of worship of Norse goddesses. She also takes
par, from time to time in Reclaiming Witchcraft New Moon song
cpf"ftwou"ekteng"ykvj"yjkej"ujg"yqtmu"qp"Þpfkpi"pgy"dgcvu"vq"ecnn"
upon her goddesses.
Manon is a very decisive person and the core of her spiritual
practice is to take decision and go into action. As a very intellectual
person, she admits needing the balance between this spiritual aspect
of her life and the one that wants to act upon this spiritual aspect.
This principle is manifested in the way she described her transition,
cu"uqogvjkpi"vq"iq"vjtqwij"vq"fkueqxgt"qpgugnh"cpf"vq"Þpcnn{"dg"yjq"
you are inside. It can also be seen in the way she navigates and nego
tiates her identity within the Pagan community. She joined and left a
few groups, was rejected from one and from rituals given by others,
but she still leads public rituals and private groups today. In fact,
she does so in a way that she feels in necessary for them as much as
it is for her.
Ykvj"o{"Þtuv"gzrgtkgpeg"kp"ngcfkpi"c"Rcicp"itqwr."cu"c"ejkgh"ftwkf."
I was trying to do what people wanted to do. But people don’t know
what they want to do. So I did the eight rituals of the calendar year and
I waited for people to decide themselves. But with maturity, a year or
two before starting the kindred, I said “Well people don’t know what
they want, but I do, so I will do it.” So I started practicing on my own,
a lot more seriously. Then I said “Here is what I do and if people want
to join while I’m doing it, they are welcome.”
Xgt{" owej" kpàwgpegf" d{" vjg" cevkxkuv" ejctcevgt" qh" UvctjcymÔu" The
Spiral Dance, which he read in his teenage years, he found it funda
mental that his religious practice did not contradict his conception
of gender and his sexual identity. For this reason, Sam was rap
idly attracted to the rituals and events organized by the Reclaim
kpi"Ykvejetchv"eqoowpkv{"kp"Oqpvtgcn0"Uco"cnuq"kfgpvkÞgu"ykvj"vjg"
Radical Faeries. His testimony shows indubitably how things related
to the body and sexuality are intertwined with spirituality and his
inner quest: “[Magic] will act on a level more like a prayer or a ritual
that I will do to invoke the help of a divinity, libations [to Aphrodite
Urania] when I make it with a guy, or it will take a more psychologi
cal form that operates on my subconscious.”
Sam started off by practicing a more traditional type of Wicca that
includes the separation of feminine and masculine. He also told me
that he tries to follow the teachings of his own experience in order
to evolve towards the invocation of a love divinity that wouldn’t
dg"ugzwcnn{"urgekÞe0"Jku"fguetkrvkqp"ujqyu"jqy"fkhÞewnv"vjg"igpfgt"
binary makes it in Wicca for people who do not conform to it:
K"vjgp"oqfkÞgf"o{"tgnkikqwu"qtkgpvcvkqpÈ"Ykeec."yjkej"K"ycu"rtce
ticing, was enough, but the fact that it was centered on a male/
female gender polarity was disturbing me. It wasn’t a question of
how LGBT sexualities or identities were against nature or damaging,
dwv"qpeg"cickp"K"ycu"eqpuvcpvn{"dgkpi"Þvvgf"kpvq"uqogvjkpiÈ"Kv"ycu"
not imposed, but it wasn’t questioned either, not obligatory, just not
analyzed.
26. Sam describes himself in such terms because he doesn’t think it necessary to
dg"fgÞpgf"d{"cp{"igpfgt"fkevcvgf"kp"ceeqtfcpeg"vq"jku"tgrtqfwevkxg"u{uvgo0
less and less on the gender binary. He feels these practices are better
suited to his sexual identity and allow him to conceive simultane
ously the masculine and the feminine within him. Along the lines
qh" Tgenckokpi" Ykvejetchv" rtkpekrngu." Uco" Þpfu" c" rqnkvkecn" ukfg" vq"
his religious implication in the sense of emancipation from gender
norms.
Conclusion
This article tried to demonstrate some of the queer negotiations that
LGBTQI Pagans, especially transgendered and queer people, have
to do in order to take part in the Pagan community. With rituals like
the thirdgender ritual at Kaleidoscope Gathering, Pagans who have
different views on gender but who still ally in their nonbinary con
ception of it, can agree that it is primarily a social construct. They
also agree in their critique of gender and on how they should be per
ceived on a more equal level. In this manner, they perform gender in
a less normative way than what usually occurs in Wiccan or main
stream Paganism or in Western culture in general.
The way our informants give meaning to different conceptions
of gender also show how their construction of gender come into
play with a community who also has some forms of gendered reli
giosities. Manon, Maria, and Sam have somewhat divergent views
on gender but they can agree, even though they identify with dif
ferent genders or sexual identities, that they are basically highly
àwkf"cpf"uwdlgevkxg"tgcnkvkgu0"Ykvj"vjcv"uckf."yjcv"uggou"vq"ocvvgt"
to them most is the power or the magic they get when they can
identify freely to a nonbinary gender or sexual identity and when
they can share it with people like them. The different queer nego
tiations they have to perform don’t seem like much of a chore any
more, but more like an occasion to gain agency in the way they tend
to their spirituality.
Having a space such as Lokabrenna Kindred, where they can learn
about themselves and share with their friends, allows the members
to take part in the larger Montreal Pagan community celebrations
without feeling like the somewhat binary Wiccan way of expressing
gender is the only one available. They feel less excluded from the
community that is Paganism in general as their identity can be rep
resented too, joining forces with a growing number of heterosexual
Pagans who continue to be invaluable allies.
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