The Sorcery, Enchantment, And Witchcraft of The Divine Feminine
By Gregory Peters
U.S. Price $24.95
When I heard about the release of Yogini Magic by Gregory Peters, I was filled with excitement and anticipation. As I was already in the process of writing my book Aromagick, I knew that Yogini Magic would provide valuable insights into the Kalas and shed light on the more enigmatic aspect of the Yoginis. My understanding of the Kalas/Yoginis was based on classical texts and Kenneth Grant’s theories on “Lunar Perfume,” as well as my own practical and intuitive experiences through meditation, dreams, and heightened sense of smell. When I finally received a copy of Yogini Magic, I was deeply immersed in my own “Kala Magic” and didn’t want any outside influences to interfere with my experiences. Thus, I decided to postpone reading it until after completing Aromagick. In the meantime, I placed Yogini Magic on my altar alongside my collection of perfumes dedicated to the Kalas I was currently working with. This allowed me to continue writing about my encounters without interruption.
It was only after reaching out to Ugraprabha that I decided to seek Gregory’s thoughts on her. My past encounters with Yoginis have shown that when you are ready, one of them will find a way to connect with you. Nityaklinna, for instance, appeared in my dreams for months before I mustered the courage to engage with her and learn from her wisdom and sorcery. Once I opened the ‘gate’ and reached out to her, other yoginis quickly followed suit (at times, it felt like a flood of them entering through the gate, which can be quite overwhelming…)
Upon meeting Ugra, I was struck by a sense of familiarity. But when I tried to connect with her sister, Ugraprabha, I was disappointed to find that we did not share the same connection. Despite my efforts to gather information about her, I came up empty-handed (perhaps due to searching in the wrong places). At times, it seemed as if she was annoyed with me for reasons unknown and other times, I felt frustrated that there was something right in front of me that I couldn’t see. In light of this, I have decided to turn to Gregory Peters’ Yogini Magic for insights on her.
As I flipped through the book, it was clear that this was a must-read for me as there were countless useful insights within its pages. In the first section, Yogini Magic delves into the origins and development of Yogini worship and lineage. With his simple and approachable writing, Gregory introduces us to The Sahaja Matrikas and explains in easy-to-understand terms the concept of Who are the Yoginis – something I had struggled with for a long time and am still learning. Chapter 4 offers practical meditation techniques and pranayama for daily use, followed by an exploration of sound sorcery in Chapter 5. Then, in Chapter 7, we are introduced to the powerful tools and energies of the Yogini stones and how to utilize them. I was particularly drawn to this concept and have already started collecting some stones myself.
In the second half of the book, we are guided through the practical use of various techniques such as sigils, day magic, and working with dreams. We also learn about opening the Yogini circle and how to approach The Crossroad in our magical practice. Each chapter offers valuable insights and leads us on a personal journey of initiation into the magic of the Yoginis.
Personally, chapter 16 and the author’s depictions of the Yoginis had a profound impact on my understanding and practice. The vivid descriptions and personal gnosis brought about by both left a lasting impression, greatly transforming my relationship with these mystical beings.
Gregory Peters’ portrayal of Ugraprabha provided the final motivation for me to complete Aromagick. In my quest for knowledge on Ugraprabha, I felt as though I was overlooking a crucial element that was right in front of me.
Gregory wrote about her “Sometimes she appears with the head of a fox…”
For me, an initiate of the Fox Magic cult, this single sentence offers a complex understanding of the intricacies and mysteries surrounding the sorcery of the Fox, Yogini, and Lalita’s never-ending game.
Ugraprabha, an AI image inspired by Gregory Peters’ vision
Diti J Morgan is the Author of Aromagick: A Scentual Guide to The Kalas And The 8 Colours of Magick
There are many books on how to do magick, but not so many with stories about actually doing it and what happens. NakedTantra lays bare the inner states of the two brave souls involved in this extended magical work.
An experiment, two people, two countries, one mind, experimenting in tantra meta-magick, cosmic astral travel to the land of no boundaries, looking for the doors of perception.
Of necessity the contents of this grimoire might be considered erotic. And, with that thought in mind, it might also be that the reader is occasionally aroused by our story as it progresses. Some might find this an unwanted intrusion, into what is otherwise an exploration of a magical world. Others we surmise, will take this in good part, accepting that, a spoonful of sugar helps the medicine go down. To those who do not share these sensibilities, and are unmoved by what you are about to read, we offer our sincerest apologies.
Mogg Morgan talks to MIRYAMDEVI & MINANATH, pseudonymous authors of NAKEDTANTRA
About The Authors
These are not their real-world names but neither are they false, they emerged in the dialogue. In real life, they both have experience in eastern and western magical styles.
You obviously have chosen to write under names other than those of your birth, which is not uncommon in magical publishing. The story of how you came by your writerly names is told in the book so I won’t spoil the surprise now. Even so, can you introduce yourself and say a little about what you do, your aims and objectives with your writing?
Minanath: When I first met Miryamdevi she called herself a simple “cowgirl”, which immediately brought to mind the Gopi-maidens who trail after Krishna. But then I discovered she really likes Tom Robbins who wrote Even Cowgirls get the Blues. So there’s something in that, but also, what she says about growing up on a farm; she has a certain earthiness and salt of the earth strength.
Another thing that came up when we got into working with the archetype Babalon – who we, or could be Miryamdevi, worked out, is not some rare breed but is in every woman, Miryamdevi is in a very real sense: “Everywoman”.
My name Minanath literally means (lord of) fish, and it seemed appropriate somehow. It is the name of a Hindu magician/mystic from old times. Also known as Matsyendra, Macchendra, and others. His biography can be seen as mythic or real, depending on who you read. I like the version that he worked in the sea, probably as a fisherman, a fairly taboo or lowly profession in India. But somehow he had a revelation and put together much of the spiritual system we know as Tantra. Perhaps it was because of his humble status people applied the story of his getting the wisdom from a secret scroll, written by the god Shiva, and hidden in the belly of one of the fish he caught. Sometimes it is he who ends up in the fish. But sometimes I just think he learned stuff from people he met on the harbour, maybe mariners from distant lands, like Egypt and Greece.
Anyway, my name Minanath is a reference to that guy who lived a long time ago, not thousands of years but long enough. I think magical tantra started or reemerged in India at the same time when things were getting difficult for magicians in Egypt, with the rise of Christianity. To put it romantically, when the light of knowledge was being extinguished in Egypt and the Near East, the torch passed over to India.
Miryamdevi: Miriam (מִרְיָם Mir-yām) is described in the Hebrew Bible as the daughter of Amram and Jochebed and the sister of Moses and Aaron. She was a prophetess and first appears in the Book of Exodus.
It is all in the name actually, the name Miryam suggest the strong connection she had with the sea and water (Yam in Hebrew means sea and the very obvious Mer-Mir). In the Jewish tradition and culture, The Tambourine is widely associated with Miryam and her love for music. Within the circle of Jewish midwifery especially the Israeli ones, Miryam and her mom Jochbed were the first midwives of the Israelites. I relate to all of this as I was born near the sea, I love music and I’m a doula.
The name Miryam is very popular in my family but although all the Miryams’ are very strong women, most of them had very difficult and unhappy lives. When Minanath said that I have to choose a magickal name it didn’t take long for me to understand that I have the chance to take the name Miryam and turn it into a healing name that will heal a long ancestral line of ‘broken Miryams’. Miryam became MiryamDevi and as soon as I started to use it I felt the healing has begun.
Without giving too much away, are you able to say a little more about your family background, ie past and current – ie are you married, children, work – people like a little bit of personal stuff if you ok to share?
I was born in Israel and grew up on the family farm. My dad was a horse breeder so we had lots of horses, I love horses, I love all animals. In my early twenties, I moved to the UK. After my husband died I moved back to Israel. No children. When Mina and I met I was living in Israel. I’m an aromatherapist and a doula.
I always lived in the UK originally from Wales. Divorced with no children. I work in the world of books, selling and occasionally writing them.
Naked Tantra is rather a striking title – can you say that a bit more about that, what does it signify?
The word Naked in this particular connotation – NakedTantra, signifies the naked truth of our practices. NakedTantra is a very intimate and personal book that reveals some secrets about ourselves and the way we do things. When Mina came out with the name NakedTantra I thought it is the perfect name for the book which reveals so much about us. It feels like we are standing naked in front of the reader.
Miryamdevi said it really, although of course, in the first part of the book there is an account of Miryamdevi’s initiation, which like mine a few years back, and like many initiations, requires some nudity as an act of love and trust. There is a fair amount of nakedness in our book. But mostly really it’s what for us is the naked truth – revealing things as we see them. It may not be true for everyone but it is true for us. Perhaps like those energy bars that have no additives, that’s us, pure and honest, as much as it is possible for anyone to remove the mask and record what they did.
Well, that’s the Naked aspect covered. Can you explain something about the Tantrik aspect of the story? Most of our readers will have a general idea of what it means but I think, as there are so many misconceptions, it would be good if you could say what exactly you mean in this context?
Tantra, yes, a massive subject to talk about… The way I see it, it’s all about cycles within cycles, relationships, the balance between physicality and spirituality, SivaSakti and Lingam-Yoni, Yoni-Lingam, Lingam-Lingam, Yoni-Yoni, whatever.. you cannot do all this without some Serpent Power. I think Mina is the person to ask about Tantra for a clearer answer 🙂
What Miryam said is really good. Miryam always has a very down to earth way of expressing things, hopefully, you noticed that in the book. But technically, Tantra is a South Asian, Indian subcontinental esoteric tradition. Like the term Yoga, I think you could translate Tantra with the western term magic, but not everyone will agree and we probably need to argue that more.
In the book Naked Tantra, you list many songs and poems, some of which you wrote or translated yourselves. Are music and poetry very special to you, can you say a little bit about that, why it is so special?
I love music. Music is a big part of my life and there’s always something playing in the background especially when I cook or clean the house, I’ll have the radio on and will sing along and dance to my favourite tunes. I also make lots of playlists. I have playlists that will suit any mood at any time and any day, I’ve got a good ear for mixing tunes and songs and fancy myself as a secret DJ. Music helps me write. It took me ages to write chapter one, I knew what I wanted to say but the words didn’t come out. One day I was listening to the Ganesha mantra and immediately I knew what to write, so I sat down and wrote chapter one. If you read that chapter you’ll see that there are few mantras which are linked to each other, each mantra was like a key that when played the words just came out flowingly without stopping. Poetry is also very special, when Mina and I met we were living in different countries and as we both like to write as much as we like to talk we found ourselves corresponding on a daily basis via emails. Sometimes situations in life can be very lyrical and when I sit down to write about it the words flow out of me in a lyrical rhythm, a poem of sorts some may say. Separation, longing and Karessa can turn one into an enthusiastic poet.
Miryamdevi is the DJ. I like her style. I think we are a little part of a long tradition of mystics such as the troubadours, the Tamil Siddhas, the Bauls etc. Sometimes called courtly love, where the frisson created between two lovers, who are often separated, either by societal rules or physical distance and then their inner fantasies, their emotional energy is sublimated and channelled into poetry and storytelling. So one way or another we did a lot of writing, we still do. We do our magic, as described in the book, and we dream and write, and write and dream. We just hope our readers will enjoy the things we say, be entertained. As they say, first entertain, then educate.
Is the journey in your book, the kind of rituals you describe, would that be for everyone, a beginner or is it only for the expert?
The journey is for anyone that resonates with our story, and the way we practice and dream.
Aleister Crowley, who turned up in our narrative, wrote or channelled “The Law is for All.” So yes, it’s for all. His magick was quite complex but also simple. Some like to talk about elites and special secrets they have, but it’s all out there already really. If it was all so secret we wouldn’t be writing a book about it, and in the tradition, there are thousands of old tantric texts in libraries, why did they write them if not to be read? I suppose the only qualification is the ability to read, understand, dream, do, and become.
What do you think other explorers of this genre would make your work? There are a lot of books already out there, what is it you think you bring to the table that is new?
As I said earlier, the book is about very personal and intimate work. Some might like it and some won’t. Some might say that we lifted the veil of Isis too far … for those, I’ll say “perhaps, but there again, she gives us life”.
Well, we’re not too sure about that. We hope they are entertained. I hope, if there is any shock, it will be of recognition. Some will perhaps question that what we have written, whether we are entitled to say it and whether what we experienced is appropriate. Almost every book these days seems to have to dismiss the connection between western sexual magick and the obscure secrets of real tantra, to dismiss other magicians’ ideas as new age. But then, in the end, these same people will carry on writing about tantra much as we do. So I think we are on the safe ground really, we can argue our corner. And in the end, does it matter? We are part of the same international community of magic that existed in India and Egypt in the past and is with us now. Mystical traditions cannot really be judged, or if they can, it is only by the results, ie pragmatically. Success is becoming.
Ps: I have to say that in the work, Miryamdevi really has, in my opinion, revealed some amazing insights into Jewish magick, something I’ve not seen anywhere before. Or put it this way, although Miryamdevi always denies any formal knowledge of Kabbalah, it just seems to be in her blood, to flow from her naturally. Which is what she says in the book at one moment – women just naturally receive and know these things. I don’t know if this is all women but definitely her.
That’s a lot of questions – can you try and summarise, in a nutshell, the enduring message of this book?
Follow your dreams.
Magic is complex but also simple. It is sometimes said that the gods created the world as a game, remembering how to play, that’s the thing.
Naked Tantra ends on a bit of a cliff-edge – without giving too much away, can you say what happened next in terms of what you are working on now?
Well, it seemed like the right place to stop, although the narrative obviously continues somehow and there are obviously some difficult moments ahead. The story comes to a natural climax, in more ways than one, when we break through our self imposed purdah and come together at a place of obvious power. What happens on the other side of the cliff-edge, that’s in part down to the readers.
What are we doing now? More experiments in the hyperreal – a ritual year and surprise surprise, some angelic conversations, though something very common although at the same time, ignored. It’s the old old story, people look for complexity when what they really need is staring them in the face.
As is well known to those who follow my reconstructed Egyptian daemonic or demonic calendar, every 30 day lunar period is dominated by three entities, one for each ten day period or trimester, also known as a decan, from Latin for 10. Here they are, as depicted on the wall of the temple of Isis at Philae:
The new moon began on 23rd February with the left most image known simply as Akhw, which I have translated elsewhere as spirit entity, very like the later idea of the Djinn, which in many ways is a belief system in continuity with that of Pharaonic Egypt. The astrological month of Pisces also, as it happens, begins more or less now, and these seem very appropriate spirits for the Pisces type.
Now of course, I have argued that all of the 36 decanal demons are like the class of demonic things known in old Egypt as the Akhw, but this is not to say this term is here just a generic thing. There is something very special about this demon. Rather than being generic we could say it is the paradigm for the whole array of night spirits, In the ancient almanac from which some of these details are gleaned, a great deal of otherwise lost folklore and mythology is recorded, often in passing. In several places in the long text, special rites are prescribed for the Akhw, who maybe otherwise become troublesome. No surprise then that the group of three have a particularly demonic aspect, where as other images could simple be those of the common gods of Egypt.
Interesting too that whereas many other images of the demons have been mutilated in later times, these three survive intact. Here’s an example of one of the other images, although with the typical mutilation of the effective organs, the face & hands. The context of these mutilations is a subject in its own right and very interesting magick too:
The middlemost image shown earlier is very strange, quite monstrous really; a human headed entity, wearing the archaic skull cap similar to that worn by the god Ptah, but no arms! This absence of arms is intentional, nothing is left to chance in Egyptian art, although the meaning may be lost on us, but something like, he has no hands to take hold of you. His entire body tapers off into that of a crocodile. His or her name translated as “one who comes before or heralds the two souls (the Ba)” Now, as these entities are also groups of stars in the so-called decanal belt – he could be the herald in the sense of the group of stars that rises before the third and final demon, the one who rules the dark nights of the month, and the mysterious days before the next new moon when gods such as Horus arise from the body of their father Osiris. No surprise then that the entity that we are guided towards, is the strangest of the entire strange series of three. The image shows a snake with two heads, one at each end of his body. Monstrous but useful if you want to look in two directions, and in this case two levels, perhaps upper and lower. But troublesome if the two souls decide to pull in different directions. Perhaps they are meant to represent two snakes mating, their sensuous bodies molded together. Ancient mystery of the body is encoded here, one that emerged later in the Hindu tradition known as Tantra. Two souls are fine as long as they move in coordination and in the same direction. We tend to think that being single minded is the best way to get things done but perhaps here we can detect an equally old and valuable idea, that two heads are better than one.
The decans are discussed in greater detail in my books Supernatural Assault in Ancient Egypt and Phi-Neter: Power of the Egyptian gods. I’m currently working on a combined volume, devoted to the Egyptian Demonic Calendar. Look out for all these titles wherever good books are sold, but certainly on Amazon.