Monday, November 26, 2007

THE IMPORTANCE OF Richard Wagner by Ron McVan

By Ron McVan

If any one man must be credited for lifting Wotanism back to the world stage of Aryan consciousness, without question, that individual was Richard Wagner. It is not an exaggeration to state that Wagner wanted his art to become a revitalized religion of the blood. It was not 'art for art's sake' that drove Wagner to the grandiose mystic heights of musical and poetic genius. The real essence of Wagner that motivated him in all things was his unwavering and determined commitment to his race and ancestral heritage.
Yes, unlike the many composers before him, Wagner probed deeply into the realms of music to areas where other composers dare not tread. A well-spring of profound ancestral insight Wagner found in the northern Aryan sagas, most particularly in the Vulsunga Saga. Upon this folk mythos the composer was to pour out the full flood of his talent and emotion.
Wagner's pessimism had built an extraordinary bridge. For some time an inner compulsion had been urging him towards an almost mystical synthesis, but he had held back. From the very beginning his concept of the Teutonic god Wotan and the Norse myths had bound the destiny of the gods and Volsungs closely together. This created a tightly woven interplay of mythology, history and heritage with a feeling of even something more, something greater yet to come. It seemed to beckon a new dawn of the gods and man that could perhaps even awaken the Wotan Consciousness among Aryankind. This was something much grander than the mere pretty sounding music of the day and attained by very few composers.
In Wagners compositions the eye is constantly transmitting very definite folkish and symbolic impressions to the brain with the result that his music readily leans to realistic suggestion, and this is exactly what Wagner had hoped to achieve.
The two artists whom Wagner most admired were Shakespeare in literature and Beethoven in music. These influences are often witnessed in Wagner's work with its moody, volcanic surges of power and strong emphasis on drama.
Wagner firmly believed that through music one could very possibly redeem a culture, society and its people. To Wagner the theatre was likened to a temple of Aryan art and mystic rite, and through the Teutonic myth he had found the elements which would consecrate a higher folk consciousness and upward path leading to the Ubermensche (Overman). Other great men, also shared Wagner's envigorating Aryan folkish thoughts at the time, such as philosopher Friedrich Nietzche, artist William Morris and the celebrated Wotanist Guido Von List, to name a few.
The years 1848 to 1852 were for Wagner a long spell of intellectual and spiritual indigestion. His too receptive brain was taking into itself more impressions of all kinds than it could assimilate. Lohengrin, his second great creative epoch which commenced with the "Flying Dutchman", had come to its perfect end. New ideas of music and drama were ripening in him, but as yet, he had no clear concept of their drift.
His failure to interest the theatre authorities in his great plans for the regeneration of the drama and music drove him deeper into politics. In a speech in 1848 which was to create many enemies for him, he stated, "Only from a new humanity, a new relationship between man and the state, could come a clean and healthy and art-loving civilization." The same year he wrote, "Men therefore, are not only entitled but bound to demand of society that it shall lead them to ever higher, purer happiness through perfecting of their mental, moral and bodily faculties."
Wagner would for example, draw attention to the ancient Aryan Greek civilization which reached its highest point in the theatre. The tragedy, to be precise, was the expression of the deepest and most noble consciousness of its people. Wagner held that a nation must have an intimate connection with its history. "The nation itself that stood facing itself in the artwork, that became conscious of itself and, during a few hours, rapturously devoured as it were, its own essence." "Since those ancient days the 'unified artwork' has been lost for us; only the dissevered arts exist now".
Wagner, the consummate visionary, sensed the great social upheavals to come and the potential new age of man which could be born from it, and was convinced that from his work would develop an integral foundation towards such a change. Even today this potential resurgence of Aryan awareness through the Wotan consciousness held a very strong possibility.
The new folk-conscious art demands a new mankind and as a prelude, a return to nature. The goal, both of art and of the folkish impulse, must be "the strong and upright Aryan ideal" to whom revolution shall give his strength and Wotanism his will. "The artist of the future", Wagner had stated, will not be the poet, the actor, the musician or the plastician, but the 'Folk' to whom alone we owe all Art itself." Before Richard Wagners death in 1883 he went on to complete his epic masterpiece of musical genius in 1876, the 15 hour "Der Ring des Nibelungen" (The Ring Cycle). To this day there is no music which stirs the Aryan soul so profoundly as Wagner. So strong an impact, in fact, that the Aryanphobic Jewish race, whose insensate hatered for the White Race is unparalled, banned his music in Israel. The classical conductor Zubin Mehta of the New York Philharmonic, experienced the reality of this when in 1981 he tried to conduct Wagner's "Liebestod" from Tristan and Isolde, and caused a major riot in Tel Aviv.
Richard Wagner's music will long be the topic of great controversy, though it can be enjoyed by most anyone, it was never created to please everyone. Wagner's music was born from the soul of his race and the ethnic mythos that surrounds the gods and godessess of Asgard. Beyond this, we can no longer seek or explain anything but can only respect it in order to permit it to take its place within us. Wagners music was a grand achievement for one single man to accomplish, and as a composer it made him a giant. May his inspirational works serve as a first giant step of even grander achievements to come in the future of our people here in Midgard.

He soars aloft, the maker of the all, In the void of space, In the silence and din. And the cosmic glitter, Of infinite stars, Weave a tapestry, So sublime therein.

And life shines down, From the sun and the sky, It trickels through rivers, From mountains high. And on to the sea..... And on to the sea..... The world and man, And divinity!
...........................Ron McVan

"SONS OF ALBION" P.O. Box 422 Butte, MT. 59703


The dawn of man's history follows on the twilight of a preceding history of man. The birth and death of a complete history of mankind is not unlike civilizations themselves or the cycle of man's physical body. It is said that a man's life consists of twelve seven-year cycles, which in the final state of decline is extinguished by the inevitable process of physical death. A history of mankind is extinguished by a cyclic death as well, which comes in the form of a natural, or in some cases unnatural, catastrophe.
This is a period upon which all previous knowledge is extinguished and scrubbed clean with perchance a few mysterious remaining vestiges left behind. When man is born he has very little, if any, remembrance of his past lives, due primarily to the fact that he has a new brain. There are fortunate few who retain the ability to remember their past life through flashes of blood memory or psychic ability.

"In man's analysis of understanding of himself, it is as well to know whence he came as whither he is going." ....................Edgar Cayce

All men and woman living today, whether they care to admit it or not, possess an anxious feeling within themselves, a feeling of impending doom concerning mankind and the planet upon which we chart out our daily lives. We feel this way because we have been through it before, perhaps in a far distant pre-historic civilization. Our short memories can insulate us from the immediate potential dangers beneath our feet, as long as we choose to ignore the hot, bubbling reality below the earth's crust, or the hurling random matter, ever moving precariously through space. The fact that we are alive and conscious in our world at this very moment is not just phenomenal, it is an absolute miracle! The entire planet Earth has the potential to blow apart at any given time, or whole continents sink beneath the ocean, or rip in half from a violent axis shift caused by sliding polar ice. A leading scientist in underground nuclear testing stated that we are just a few more underground nuclear explosions away from splitting the earth apart. Even the slightest temperature change could extinguish all human life. We blot these many looming catastrophies out of our mind, but we shall never erase the reality that such dreadful occurrences have happened before and they will happen again.

The short ten thousand years of our recorded history are barely enough time for a significant upgrading of mankind, yet it would be laughable to say that we are now living in a pinnacle golden age of human development. Our great forefathers who built the magnificent civilizations of our historical past would recoil in disgust at what we have become after such glorious and noble beginnings. We have devolved spiritually as well and abuse and violate nature and the planet upon which we live with impunity. Many geneticists believe that civilization causes the human stock to slowly degenerate, by enabling persons with unfavorable mutations to live and breed---when in a wild state, they would quickly perish. Not only do many Aryans today not consider themselves Aryan, most do not even have a clue that the word signifies their unique species among the races of mankind. All books throughout history have always referred to the White race as Aryans up until about the 1970's when all the anti White race stigma really kicked into gear. Aryan families have progressively been producing less and less children, while the silent genocide, abortion and birth control pills totally devastate any chance of restoring a balance in the numbers of our people worldwide which only hastens our race towards total extinction in the very near future.

One of the most poignant scientific discoveries of the 19th century was that which officially traced the descent of all Indo-European peoples from that of the Aryans while today the enemies of our kind work overtime to brainwash our children that Aryans are not a race at all. The major Aryan branches are roughly five in number: the Greeks, the Latins, the Celts, the Teutons and the Slavs. To understand the origin and evolution of the Aryan Tribes, one must know something about the reasons for their major emigrations. To do this we must return to the last great cataclysmic events that changed the geography of the world. This was the time of the great migration of the races, a time when whole continents sank, and once temperate living areas in the world became lost and all but forgotten under the sea. Let us begin with one of the great civilizations of the former historical era, which was the highly mystical and never to be forgotten continent of Atlantis, for it was from the survivors of that great cataclysmic catastrophe approximately 11,600 years ago that our current Western World received the light of highest knowledge and wisdom that would produce the new Golden Era and the Seven Wonders of the World.

One can only imagine the awesome horror of witnessing the sinking of an entire continent. It is, also, only natural that the few who did survive would be inclined to migrate as far away from such a nightmarish geological havoc as fast as their legs or boats could carry them. These Aryan Tribes would later become referred to as Indo-Europeans, traveling and settling to the far reaches of the East and South. A more in-depth study of Atlantis and its most recent scientific facts and findings can be found in the book, "Atlantis The Eighth Continent" by Charles Berlitz.

At the beginning of our new historical era Atlantis was gone, but not forgotten. It survived in the memory of the Aryan Tribes by many assorted names. Along the north coast of Africa, it was referred to by ancient Aryan writers as Atlantes, Atarantes and Atlantioi. Carthaginian seafarers knew it as Antilla. The Welsh and English named this lost paradise Avalon. The Basques, who still believe themselves to be direct descendants of Atlantis, called it Atlantika, the Portugues, Atlantida, the Spanish Atalaya. The Babylonians called the Western paradise Arallu. The Egyptian hieroglyphs exhibited sea battles with the Atlanteans, whom they refer to as "the Amenti, from the paradise of the west abode of the dead and part of the divine sunboat." The ancient Arabians referred to Atlantis as the Land of Ad. It may well be that the name of the new man in the Christian bible, Ad-am, was a derivative of the two. Notice in the word Amenti the name Amen, which seems more than coincidence that the first Egyptian Aryan God would be named Amen Ra. Christians today still end their prayers with the word Amen, most all of whom are unaware that they are still paying their respects to Amen Ra as well as to Atlantis. This is the way in which many names are originated. For instance, the Jews call their nation Israel, which is the combined name of three gods: Isis, Ra and El.

Throughout Mexico and Central America we continue to find remnants of Atlantean memory in the names Tlapallan, Tollan, Azatlan and Aztlan. Further down in South America, conquistadores in Venezuela found a settlement called Atlan, peopled by what they referred to as "White Indians." Early explorers in Wisconsin USA, found a fortified village near Lake Michigan which its inhabitants called Azatlan.

The Vikings believed that Atli was a wondrous land in the West, and it was there that the Teutonic races placed Valhalla, a mystic land of self-renewing, battle, drinking and feasting. The Aryans who went eastward after Atlantis submerged, settled in Bactria, which is today central Asia. There was situated, according to the accounts of ancients, a nation called Arii, and a country known as Aria. Here the Aryan god Wotan (pronounced Vo-tahn) is supposed to have come with the Asen from the region of what is today part of Asia. Recent diggings in China have unearthed many tombs containing tall, fair haired Aryans, which adds credence to that question in history. The ancient Aryan city of Troy, now a part of Asia Minor was, also, said to have distant links with the patriarchal Allfather Wotan.

After the fall of Atlantis the name Wotan surfaced in many diverse areas, even as distant as South America. Pedro Corzo, a pilot who sailed up and down the Peruvian coast for four years, reported that everywhere in the temples he found wooden or stone statues of a god called Guaton. The name means whirlwind, an equivalent to the Teutonic name Wotan, also known as a god of storm, and the Maya called him Votan, Quetzalcoatal and Kukulcan, all were known as fair haired and of White complexion, bearing striking similarities and impact throughout the leading centers of civilization at the time. Kukulcan is somewhat akin to the great Celtic, heroic, legendary figure Cuchulainn. It is the belief of some scholars that historically, Hermes and Wotan are one and the same person, perhaps all three in one, if we add Quetzalcoatal. It seems apparent that some one individual or perhaps several highly intelligent beings were spreading the high science and technology of Atlantis around the remaining major civilizations after the deluge.

Aryan spiritualism has been primarily solar based. This idea of never-dying fire is surely the oldest form of the religions of the White race. The early tribes who settled in Italy introduced the vesta fire cults there, further exampled in the mythos of Prometheus. The winged solar disk was a trademark symbol of the early Aryan civilizations. Aryans were always warlike, just as the gods they worshiped, as well as agricultural; above all they possessed the divine gifts of artistic creativity, high intellect and ingenuity.

The name Aryan is derived from the Indo-European sanskrit language and means noble. "Aryan" is the correct actual name of our species. White is a color, not a name that defines a species, European also is a name of a place, not a species. The name in its origin started with the goddess Europa. Most are familiar with the mythological story of Europa and the Bull. Caucasian, likewise does not define a species, it is derived from the word Caucus which is the name of a place or region in the Caucus Mountains. It is much like calling ourselves "Americans" as a race and just as ludicrous, neither name defines a species, they are merely the names of a place pure and simple. The word "Gentile" is of Jewish biblical origin and is used to signify those who are non Jews. Again, not the race defining name of a specific human species.

The Aryan race has always had a tendency to divide itself up into nations and make the quite common mistake in proclaiming that such nations are who and what we are as a race. It is no different than an Aryan in California stating that he is a different people than the Aryans who live in New York. Ask any Aryan today what race they are and they will name off some nations in Europe or worse say that they are Heinz 57, which is to say, a little bit of everything. Someone says that they are German, French and Scandinavian. What does that mean genetically? All are of the Teutonic tribe branch of Aryan.

There are only two primary root tribes of Aryans in Europe, the Celts and the Teutons all other tribes of Aryans are a derivative of those two. It is certainly not the place called Europe which has made the Aryans what they have become over the many centuries of our history. We were Aryans before we settled there and this we owe simply to far distant Aryan origins and the far-reaching influence of the migratory period after the fall of Atlantis, which hardened our people and developed the hearty and virile character of our ancestors. This is not to say that all Aryans were bottled up the area of Atlantis alone before the great cataclysm, ancient Aryan Egypt co-existed with Atlantis and likewise there were many tribes of our people spread far and wide in between. There remains existing Egyptian heiroglyphs that depict great naval battles between the Atlanteans and the Egyptians. In fact both were in the midst of a fierce battle with one another the day that Atlantis was submerged which we have now learned was the result of an asteroid striking the earth in the region of the Sargasso Sea. What serves as a testament to the distant age of Egypt is that it survived the last great flood and axis shift. There still exists salt water tide marks on the interior of the pyramid of Giza which is not even the oldest pyramid. The Sphnix itself is far older than all the pyramids in Egypt. Look at the globe of the world and you will see that the Nile river is the only river that has its delta pointing towards the north. That it survived the last axis shift is also evident in that upper Egypt is still called lower Egypt and lower Egypt is still called upper Egypt.

How was the Indo-European evolved from the Aryan? He certainly left his home a different man from what he had become when he set foot on European soil---at the time when he first made his appearance in history. Nor is he invariably the same. The Greek differs from the Roman, the Roman from the Celt, the Celt from the Teuton, the Teuton from the Slav. Yet, one bonding genetic element runs through all the Aryan Tribes, which defines them back to the original source. It is genetic physiognomy which defines the Aryan species, not the language or temporary political boundaries, which many are taught to believe from today's Aryan culture distorters. A race is not to be determined by skin color alone, it is genetic, and it is the defining DNA of a specific race of humankind. There are Aryans of light medium and dark skin completions. There are Chinese of ranging from yellowish skin to pure white skin. Negroes can range from darkest black skin to brown, tan and in some cases pure white albino Negroes. Indians can range from reddish skin to tan white to darkest black as in India. Indians it has been found co-existed with the Aryans in Atlantis. The name Indian was not the original name used to define their race, they were all known in the days of Atlantis as Toltecs.

The entire current condition of present day Aryan culture is seriously ill and degenerating in an alarming manner. Having come under the custody of men who are inwardly indifferent, self hating and even hostile to it, and whose mental and moral attitude differs drastically from our noble race-conscious forebears. At this juncture in history Aryan man is fighting for the battle of his life, with the ever present specter of impending extinction of his entire species hanging in the balance before him. In a report by the United States Immigration Commission dated 1911, it states that, "The Aryan 'races' comprise nearly half the population of the Earth, say 700,000,000 out of a total of 1,500,000,000." In less than one century, the Aryan race has dwindled to a most shocking 8% of the world population and still declining, while the world population has more than quadrupled, now in excess of 6 billion. A front page article in a national periodical back in 1960 stated, "It is one of the riddles of our time why the White man, lord of the earth from pole to pole, should, in the short space of a single human generation, renounce his rule, draw back wearily from a position of world-wide power, so that today he is in panic-stricken flight, where yesterday he still governed inviolably."

If the Aryan race does not regain control of its survival instincts, then certain extinction from the face of the Earth within a space of one century but even more likely 50 years is inevitable. The battle that must be faced is not from any enemy without, but from the enemy within our own self, and our people. That special something which made our ancestors the literal sovereigns of the earth, developed from an indigenous inborn yearning. It is this yearning that builds uncommon valor, makes men take chances and risk their very lives and limbs for the greater glory of their people. Such a yearning has always been a genetic characteristic of Aryan man, matched with an indomitable will and biological determinacy. This yearning is perhaps more accurately defined as "The Vital Spark".

The Aryan race certainly has never been submissive in the past, which is why it has reigned in its might since the dawn of history. Should it fully adopt the submissive, turn-the other-cheek, resist not evil, all-men-are-created-equal pabulum of alien Christian dogma, or the universalist and self hating anything goes disease of the liberals we shall perish as surely as the sun sets in the West. Jewish religion and history works fine for the Jews, but it is not our religion, nor is it our history. We shall never find the path to our Aryan soul by following a Jewish roadmap or any path or system which is not our own. Only the dare to be strong and great as a people, dare to be vigilent against all odds for the right and honor of your family, culture and race. That is what filled our ancestors with the vital spark to produce the wonders of the world! The alfa Aryan must also remain thick-skinned to bear his or her steadfast non-conformity to the maddening and unconscious world which is ever ready to pull us down into the mire. Always remember that from the grinding, grating friction within the oyster comes the pearl. There is no growth without adversity, and there is no life worth the living without your race, your ethnic roots and that will to be, which is your quest alone by divine right!


ALLFATHER WOTAN by Donald V. Clerkin

Children of mine, fair and beautiful kin of the light, you know me. I am known to you as the Wanderer, the Wolf, Lord of the Ravens. My home is the primeval forest, the place of the mighty ash and oak. You know me there when you, my children, were new-born to the world. There you aided me in my wars against the racial aliens, the lords of the underworld and darkness, who used their gold and their lusts to corrupt you into their snares. When you lived in the old forests with me we were always victorious against our enemies.
But you have forgotten my counsel and your race of light and beauty is becoming stained, besmirched by the offspring of Alberich. You make common cause with the racial aliens even against yourselves. Your blood has thinned, your minds and instincts dulled; and the racial aliens have their way with you......turning loose their destroying armies against you, your women and your folk.
You have set over yourselves a government based upon doctrine that I did not teach you. My children, I did not teach you to give your lives over to the propagation of racial strangers, whose ancestors never lived with me in the forests. I taught you to love and cherish your own kind, to protect what is yours. I gave you beauty and wit, strength and will; these were witness to the singular greatness you possessed. Once, everyone knew you as my children.
What have you become? Whither goest thou? Will you humiliate yourselves to the point of extinction? Why? What could bring you to this sorry state? Because you are mine own, you possess the strength and the will to defeat any enemy.....lest the enemy be yourselves.
What is the false charity I see you slaving over? You allow your old folks to worry their last years while you give succor to aliens, those you have invited into your midst, and those you foolishly aid from afar. Know you not that these aliens hate your wealth? Alberich's children, too, wait at your gates, ready to come in and seize what little honor you have left. Is this what I taught you, my lessons ingrained onto your very souls? No children, I taught you to be proud and upstanding, not servile and base. I said to you long ago that, as few of you as there would be in the world of men, as long as you believed in yourselves those who would take your Aryan souls from you would fail to take from you that which I gave only to you. You were told not to share your blood, your soul-force and memories of me with racial strangers. They had their own gods; Alberich's children had their gold and you to conspire with them against the gifts I had given to you?
I , the Wander, come to you from the ancient times to say enough of this treachery and foolishness. You are my own, and my spear once protected you. The law of race and blood I gave to you was not to be breached....ever! I sent a messenger to lead you, a second Siegfried, a World Hero.....but you turned him out of your hearts and over to Alberich's executioners. He died by his own hand while you with envy gloated over his downfall.
My Aryan children, did I not lead you into victories in the past; were you not once the masters of the world? And would you not be masters still, had you not forgotten the wisdom I taught you? Valhalla is where I sit alone, bereft of my Aryan heroes; the Ravens tell me naught but tales of treachery and cowardice in the faces of thine enemies. I was your warrior god; you were my Aryan heroes. My life in Valhalla was filled with your valor, from which I drew my strength. But now you fill me with dread. You fear gnomes. You recoil from two-legged beasts that merely snarl at you. Oh my Aryan kinder, how I long for those days when you won the world and feared nothing and no one.
Wotan's power has long been broken. I live now only in the hearts and memory of those of you who feel the life-force you once rejoiced to live. You shared my life-force, and in death I honored you as heroes to be with me in Valhalla. Now there is little left to honor. The Ravens fly out daily to bring me word of your deeds, only to return to Valhalla to tell me that which I loathe to hear. You are dying, my Aryan kinder, of a sickness of your racial soul. The god-like graces I gave to you, which every other race but yours recognized, you have thrown down into the dust.
The Ravens bring word of a few who fight on, who stand for the greatness that is still in you. Will the few redeem the many? All too many refused to redeem themselves. Alberich's spawn have them firmly in their clutches, their Aryan souls twisted and distorted so that I can no longer recognize them as my own. Effeminate men who make futile arguments against courage. Troublesome woman who blacken the roles of mother and mate. Had I my old autority, my spear would strike them down!
But, then, I am one of your memories; the oldest, though not, I think, the fondest. No Aryan knows the name of Wotan and forgets his birth in the old forests, the great battles and victories, the tragedy of life. I can no longer come into your world with my Spear. I am unwelcomed into your hearts. You my children, who remember me and what you were, awaken your brothers to fight; councel your sisters in their distress.
Forfeit your future no more!
I dream of an heroic world order, a world that began in the forests, led through blood and honor to Valhalla, and finishes with your greatness written on Time itself, It can be that way again my Aryan children. Wotan calls upon his children to be great once more. You have it in you each one. For each of you there is a place in Valhalla. Courageous deeds are the key to glory. See yourselves as I saw you so long ago.

Inspired by Richard Wagner's "Ring Cycle" and composed in the spirit of
Wotan by Donald V. Clerkin, formaly of the Euro-American Alliance.


Through a broken shutter, Neath a dripping gutter, In the blackness
Of the night, A hooded form, Peers out at the rain, By a flickering
Candle light.
A hooded phantom, Or deity unknown, With the eye, Of a
glowing sun, And he made not a sound, As the rain beat down,
From the clouds, Over Albion.
In the mist, of the Teutoberg forest, On a tree, Two ravens sat,
Scarlet runes were spread, Where two wolves there tread, Round
an image, In a soft floppy hat.
And his eye, Gazed out in the darkness, Neither Druid, Wizard or
Sage, Twas an eye, The matrix of a universe, An eye, From a
distant age.
In life's crucible, Of truth and enigma, As in parables, Of myth and lore, Through religion of all stripes, Our blood archetypes, Have lived on, Since the days of yore.
And God, The unmovable mover, Molds infinity, Near oblivions
ridge, Through my lives, I have known him as Wotan, In Valhalla,
Cross the Bifrost Bridge.
For his right eye, Holds the sun that shines, His left eye, Holds the moon, His blue cape is the sky, With the stars on high, And Othala, Is his rune.
He reigns at Hlidskjalf, In Asgard, Where he knows, And see's all
things, Or raises a toast, With his Immortals, In the halls, Of the
Warrior Kings.
In the dimness of fog, Or in shadow, Or obscured, Under hat or hood, In the guise of Herne, with his antlers, Or the Greenman, In yonder wood.
Look keenly about, And look again, It's a world, full of mystery, The
Divinities and Spirits, Are among us, For those, With eyes to see.

..................................Ron McVan

"SONS OF ALBION" P.O. BOX 422 Butte, MT. 59703


By Ron McVan

Ancient chronicles tell us that Alexander the Great himself
marked out the city boundaries of Alexandria in the year 332 BCE. Within a century, Alexandria burgeoned into the greatest Greek city of its time. Among the striking architecture and wide avenues lined with statues of the Aryan Greek Gods. Alexandria soon became home to one of the Seven Wonders of the World, Pharos, a gargantuan 400 foot lighthouse like no other of any era in our entire history. Above all else however, Alexandria was most famous as a nerve center of knowledge arts and science, and housed one of the most magnificent and important libraries in recorded history. This famed library of over a half million ancient scrolls, in addition contained priceless scriptures of gnostic Ariosophy dating back it was claimed, to Atlantean times. Scholars and priests from all over the world were said to have come to Alexandria to study the old papyri of the ancients. The library was deliberately destroyed by fire in 47 BCE, a tremendous loss to the western world.
The arcane Aryan knowledge that has survived the ravages of time has been coveted by a variety of secret societies, gnostic orders and religious sects in both the East and the West. Some of this mystic knowledge became woven into Teutonic and Celtic mythology, sagas, eddas, esoteric symbolism and runes. (runes are also called reginnkunnar, which means; "born of the Gods") Gnostic means knowledge but gnosis is a movement of original thought succeeding from an older aspiration of mankind. The roots of gnosism were born out of the far distant high civilizations of Atlantis and Hyperboria and nourished into our history by Greek philosophy and the sacred science of Egypt. More than anything else, it is an attitude toward life and things which, by its interpretation of the world, sets itself apart from other lines of religious thought.
The essence of Aryan gnostic wisdom over the millennia weaves through a whole plethora of gods and goddesses. Through it all, Wotan and the high divinities of the Asir and Vanir still remain consistant at the core of the Aryan psyche. As one makes a thorough study of Wotanism the reasons why become more evident. Symbolically Wotan represents the cosmic life force and eternal mirrored image of the primal spiritual powers and not restricted to any particular era in history. Wotan serves as both robust warrior god and spiritual guide, a symbol of strength, knowledge and folkish unity to all of Aryankind.
In the past, Wotan led the Teutonic tribes of Northern Europe to many victories even defeating the Roman legions. The last recorded visage of Wotan before an entire army was at the Battle of Bravallia between the Scandinavians and the Danes. The etymology of the word Teuton or Teutonic which are both derived from the base word teuta (pronounced tay-oo-tay). This compares precisely with the Egyptian scribe of the Gods, Tahuti, who was recognized as Thoth to the Greeks, also known as Hermes. Tahuti in Egyptian mythology and history is credited as the builder of the Great Gisa (Iesu) Pyramid. It has yet to be disproven that both Hermes and Wotan are not one and the same entity. The great pyramids of the Mayans fit the puzzle as well. The enlightened one who taught the Mayans the high technology to design and build their pyramids was recorded at that time as a god, with fair skin golden hair and blue eyes whom they called Quetzalcoatal as well as Votan.
During the middle ages a group known as the Knights Templar were regarded as somewhat of an armed guard of Ariosophy until their suppression in 1308 by the Christian church. Ariosophy is a word used to describe the spiritual wisdom of the Aryan race. At the turn of the 19th century many ariosophic groups came into great popularity throughout Europe in the effort to better understand the ancient Teutonic gnostic wisdom and ritual practice. There were, also, huge efforts made to revive new high temples of learning, a scholarly and esoteric priesthood of sorts evolved out of Germany known as the "Armanenschaft".
To the outside world Teutonic folklore and mythology was further enhanced by the contemporary influences of the composer Richard Wagner and philosopher Friedrich Nietzsche. Both Wagner and Nietzsche functioned as virtual magi of their age, casting new light on the long-supressed Aryan folk consciousness and its glorious past. The writings of Arthur de Gobineau were also highly respected among pan-Aryan enthusiest's of the late 1800's.
As the 20th century began to unfold the undisputed 'high priest' of Wotanism and Ariosophy was a man by the name of
Guido Von List. Aside from the particulars of Guido's life, literary works and ideology, he is best known for his mastery of the Runes and profound grasp of Wotanism. List regarded himself as the last
of the long line of Armanist magi, who had formally wielded authority in the distant days of the Aryan Golden Age.

"At the time of the Golden Age, the Gods clothed in air
moved among men." ............................Hesiod

Second most to List was his good friend and fellow Teutonic scholar, Jorg Lanz Von Liebenfels, an exceptionaly bright and enthusistic adept of Teutonic Ariosophy. Lanz was also the founder of the gnostic and volkish publication "Ostara", which gained much acclaim among a wide circle of like-minded enthusiasts. Lanz purchased a medieval castle and formed his Ordo Novi Templi (ONT) with the intention of reviving the old Aryan gnostic orders. His headquarters in the castle became established in 1907. In 1915 Lanz coined the name "Ariosophy".
Names such as Karl Maria Wiligut, Rudolf Von Sebottendorf, Theodor Fritsch, Dietrich Eckhart, among others, played key roles in laying the essential foundations towards
a new Armanenschaft. Teutonic groups like the Thule Society founded by Eckhart gained additional support and following in distinguished folk-conscious circles in Germany.
The surviving myths and legends of Northern Europe that remain are not superstition or primitive imagery, but a profound exposition of esoteric gnostic wisdom that was handed down in its origin by the ancient Aryan Brotherhood that extends back to the Golden Age. The colorful pantheon of Wotanist gods, symbolism, runes and allegories continue to serve as ideal vehicles for a deeper understanding of gnostic Wotanist wisdom, specifically and systematically designed by our enlightened forefathers and spiritual elders.
A clear soul and an awakened Wotan consciousness, signifies the true Aryan essence. This is, and remains, the deepest wholeness of our race identity and never must we hinder the development of this experience without which, ultimately, we remain cut adrift from our ethnic roots. Our bodies and spirit pulse with emotions and abilities of our forefathers. The ethnic Gods of Asgard run deep within the DNA of our being. The Armanenschaft, was established as a means by which Aryans could unite in essence as a Brotherhood Of The Blood.
In the mythos of the Volk (folk) soul and spirit that is attained through Wotanism lies a new binding and shaping, a mystical synthesis; to serve it, is the duty of our Aryan people worthy of the name. A whole generation must develop the will and instinctive determination necessary to usher in the new age of the higher Aryan man. This will require a quickening of our Volk Consciousness to the necessary racial cohesion and unity which in turn will manifest the return of our common destiny as a people.
A primary aim of the Armanenschaft as well as in Wotanism is to preserve the volk society, ancient wisdom, indigenous religion and customs of the Aryan race, vitally interconnected with the history and mythos of its people. Foremost, our ethnic mythos is the framework, the vital structure upon which our uniqueness as a people can grow and develop. The word 'Armanen' means Heirs of the Sun-King and the priesthood is the priesthood of Wotan known as the 'Armanenschaft'.
To awaken the Wotan consciousness in our present life, means to recognize its highest value and under its guidence to allot other values their rightful and organic position as well, be it in nature, state, the arts, science or religion. The task of the new century ahead is to create a higher evolution of Aryankind. Exclusively this can be expressed around the highly significant and unifying acronym O.R.I.O.N. (Our Race Is Our Nation).
We must fully understand the glory and greatness
of our awakening (Aufbruch) when we carry within us
that deep and wide reflection; all that is great stands
in the storm.....
..........................Martin Heidegger
The present era of cultural and spiritual chaos is the by-product of centuries. Our duty today as a race is to view ourselves with the utmost clarity and acknowledge our highest values and ideals which serve to sustain our survival as a species. To fully accomplish this task it is incumbent upon us at all times and in all things to 'think with our blood' and preserve the vital Wotan consciousness that continues to remain our steadfast sacred rock of Ayan pride. Wotanism has stood the test of time and will continue to provede the necesssary unification of will and determination to meet lifes challanges for all of Aryankind both now and in the future.

Give me iron words forged in fire, That I may speak through
the soul of my people. Temper their body and heart, And let
loose the torrent storm of my will! Powers of aeons generate
within me, Snapping the rusted chains of alien creeds.
Hear now the eight-legged stride of my steed across the
heavens! I am the image of my kind writ large. My being
spans the breath of all thought and matter.
Through the light of my solar-eye, From an age undreamed
of, You have known me, Moon and stars I gather in my cloak
for you to gaze upon; My spear pierces the farthest corners
of lifes mystery. Like a ship I guide you. And though you may
wander, Do not abandon me! I am the source of all that you
are and ever can be!
I have given you knowledge, Spirit and an once of
divinity. Defile not your image, Lest your soul be cast to
the nether worlds. Above your cities and cooling rock of
mountains, The keen eyes of my ravens, Bear watchful
measure to your life and deeds.
From Asgard I gaze down upon you, Through many guises
I walk among you; You are the multitude of my single spirit
which I in turn give back to you.
Do not turn from the challenges, That I have laid before
you! Burst the illusion of all doubt and limitation! Shatter
the darkness of disillusion and despair! Sound the clarion
of a new and triumphant age! The eye of Wotan works
within you. Let my strong ones rise!
Like the mighty sacred oaks, Unleash the powers that I alone
have given you! Mirrored in Nature, Mirrored in Time, Mirrored
in the Mountains, Ocean, and Sky. Let the heroic life rhythm of
the divine Gods. Stir your noble blood!
Clutch the flaming sword of your divinity! Set up a light in
the darkness! The might of legends still flows in your
veins. Let my strong ones rise!!

"SONS OF ALBION" P.O. Box 422 Butte, MT. 59703

Tuesday, November 20, 2007


"Dancing in all its forms cannot be excluded from the
curriculum of all noble education"
.................Friedrich Nietzsche

The ritual dance in Aryan history has long been the ideal means to bridge the chasm between the physical and spiritual world. Dance serves many of the human emotions and symbolic, ethnic expressions. Behind the ritual dancing stands the long-held belief that it is through rhythmic body movement that man speaks directly to his gods, ancestors and the collective consciousness of his folk. In
ancient Egypt, women performed veil dances in honor of the
goddess ISIS. The swirling veil served as a symbol of the crescent moon. Symbolically the opening and closing of the dancers veil represented The Veil Of Isis as pertaining to the sacred mysteries which like the sacred mysteries could be revealed or concealed. The Egyptian goddess Hathor, was known as a goddess of love, dance, and beauty, and a near-twin to Isis.
For the most part, the Western world today regards the dance as a casual pastime and entertainment. In ancient times however, dance had a high significance and purpose. It was an ordered expression in motion of the exhilaration of the soul, which could further create a conscious effort to become part of those powers beyond the might of man which control our destinies. To the spiritual degree it became a sacrificial rite, a charm, a prayer and prophetic vision. Our ancient forebears viewed dance as a very
serious activity of the entire tribe. It was the folkish high point of all
meaningful occasions, transcending our earthly chains. Dancing for the gods was quite common in the ancient temples. In Egypt, pharaohs danced before gods and goddesses during the performance of sacred rites. One might say that dance in its essence is simply life expression on a higher level.

"The art of dancing stands at the source of all the arts
that express themselves first in the human person. The
art of building, or architecture, is the beginning of all the
arts that lie outside the person; and in the end they unite"
......................Havelock Ellis

To distant warriors of Aryan history, dance was a means of assuring victory in battle. Ancient Greek warriors, for example, practiced riding, archery charioteering, fencing, sword play, discus throwing, wrestling, spear tossing and various martial arts to include the kata like forms of war dance. This Greek war dance eventually developed into what would later be known as "Pyrrhic dancing", an armed or unarmed war dance devoted to ethnic themes. The name derived from its eponymous heroic warrior figure, "Pyrrhichus". It was Socrates who stated,, "Whoso honour the gods best with dances are best in war". The dance of war was a significant part of young Greek warrior training and intrinsic to the romance and passion of combat. Pyrric dance in combination with the fighting art of Pankration would develop through the Olympic Games into one of the first major forms of Aryan Martial Arts.
In early Greek mythology a warrior class known as the "Corybantes" were frenzied armed dancers who guarded the infant Zeus. These strange nurses, who frightened away enemies by the clanging of metal, were believed to have magical powers of healing. Armed with sword and shield, they would clash together as they danced around Zeus's cradle to prevent his father from hearing his cries. It was the great god Pan, the embodiment of nature who was celebrated as the author and director of the sacred dances which he is supposed to have instituted to symbolize their circumnabulations of the heavenly bodies. In Homer's Iliad, Hector was to boast in the beginning of a duel, "I know and know well how to fight and how to kill, how to take blows upon the right or left, shifting my guard of tough oxhide in battle, how to charge in a din of chariots or hand with a sword or pike to use timing and foot work in the dance of war."
When performing a traditional dance of war, often a sword is favored. Although many sword dances are now for entertainment purposes, it is thought that they originated as rituals, honoring and promoting virility, victory and fertility. The swords may be used more as props than as weapons. But in the Pyrric dances, in which a combat is danced out, are believed to be descended from mock battles between individual groups representing opposing seasons or fertility and sterility.
In Scotland, a pyrrhic dance of sorts is traditionally preserved today in the form of a sword dance or Gillie-Callum (so-called from the tune which accompanies it), performed over two drawn Scottish claymore swords and accomplished by bagpipes. Stepping between two crossed swords, or a sword and scabbard, or perhaps two cross sticks or pipes, originated as a victory dance. Gillie-Callum is now as popular among Scots in America as it is in Scotland.
The renowned Berserker warriors of the Viking Age were known to perform traditional war dances, chanting wildly with upraised weapons before battle. In a frenzy of raw animal-like fury, they would become 'heated' to an extreme degree, flooded by mysterious and irresistible force. A faint memory of these dances lingered on after the Viking Age, which were performed at Yulefest. Two companies would dance in a ring, striking their shields with sticks and shouting, 'Yule, Yule, Yule!' In each company two men dressed in furs and masks.
In the Faroe Islands in the North Atlantic, the heroic Viking past is kept alive in folk ballads, sung to accompany intricate ring dances. It is said that some of these ballads actually last for three whole days and nights, recounting endless tales of Viking daring-do, while dancing and singing continuously for as long as anyone can remember the words and stay the course.
Pyrrhic sword dancers wield their swords to build up mesmeric visual patterns and effects through skillful weaponry display. There are naturally many variations and types of war dances, but they share similar characteristics, for instance, most often they are exclusively performed by men, they are highly stylized, even when they portray combat, and they derive more often than not from mythological sources. Most Aryan war dances today date back to pre-Christian rituals in honor of virility, victory and winter, night and day, and the leaps and high kicks symbolically were believed to promote growth. Much of the pyrrhic dancing of modern times relies heavily on geometric patterns alone and lack the element of
dramatic warrior combat. They create excitement by the steady evolutions of patterns and metric beat of the drum and stepping. In these dances swords are not weapons as much as they are a means to connect and unify the dancers. In mountainous regions of Europe hilt and point sword dances abound in regions of northern Spain and the Basque provinces and, also, Austria. Everywhere the dances share basic formations and types of costume and music, although regional differences are evident.
Ritual sword dances usually progress in a sunwise circle or weave within a circle. But the Flamborough sword dance, for instance, straightens out into longways formations. Parallel swords are successively raised and lowered and the dancers pass under and over, the 'Reed', or circular hey with raised swords, and the 'Threedling' with double overhead arches. In the final triumphant 'Lock', the swords are linked into a star shape, then the leader displays the star during stepping, or the group wraps the lock around the neck of a specific participant and circles clockwise in the 'Rose'. This leads to a mock decapitation then to the resurrection that symbolically follows. Such similar dances were performed, also, in ancient times for initiation purposes.
A state of ecstacy can often be reached in the more intense forms of pyrrhic dance. The Greek word 'ekstasis' means, 'standing aside'. The great driving forces of body and motion can stimulate the mind to the higher mental vision outside the self. Man is alive and his mind and body contain energy, and correspondingly, the universe as a whole and each individual piece of it contain energy. The pyrrhic dance throughout Aryan history has served as a vehicle in this communion of forces and releases the mental self from the physical, mundane world. It is believed that the art of acting found its origins with the estatic dancing of the ancient Dionysian rites.
The combination of aural and visual experiences with the
additional interest of dramatic action has always exercised a
fascination to the audience. The impression thus created is further deepened by the beautiful and imaginative complexity of form and rhythm. In every setting, from mainstream performances to pagan revival ceremonies, the instinctive elements of the pyrrhic dances continue to stimulate the performers and enchant audiences with its artful skill and beauty of execution. The captivating magic of this mystical animation, moving geometry and primordal essence, rooted deep in our folk myth and heritage, make the pyrrhic dance a high point of our Aryan folk tradition.

"Dancing is the loftiest, the most moving, the most beautiful
of the arts, because it is no mere translation or abstraction
from life; it is life itself" ..............Havelock Ellis