Vilafranca del Penedés, Barcelona
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English Interview Rúnahild

English Interview Rúnahild

Runahild is a woman who, trhough her coice and music, evokes experiencing deep jour neys and opens us to the ability to connect with higher states, link to other worlds anmd other energies, sensitive perception to all life that surrounds us. Ruanhild do trance music to perform ritual dances or simply surrender with your senses open to receiving  and enjoying their music. We are happy to share interview that is wonderful synchronicity  since our proposal was to talk about the sacred femenine and the magical arts, coinciding with the premiere oh their EP «Sacred Femenine» She generously opens her heart to us, narrating how Sacred Feminine was born and her same transformative experience on the path of her creation. In the interview we delve into the magical arts anh how the sacred femenine is nurtured  in its connection with nature, forming part of an infinite network of inspiration and beauty. Interview by Julia Cruzán and NeferShu
Translate: Julia Cruzán

1.We would like to start by knowing the beginning of this path, a path that led you to create this beautiful and magnific Cottage, where suddenly your way of living changed to a live near to the Nature and the Spirits. Allowing you to create the music and synergy that follows your deep calls, including the sacred feminine. Tell us about this area and your way of life, for example, we know that you have a loom that you use a lot, and that you have come to create birch syrup and medicine with the chaga mushroom.  I have always wanted to live a simple life in harmony with nature. I originally come from France but I have dreamt of Norway since I was 7 years old, when the school teacher described this country as autonomous. Not that I understood what it truly meant in reality at that age, but I already regarded autonomy as a good quality and so I associated this country with this idea. When my life dream to live off the land manifested clearer in my mind, my heart was drawn to Norway once again, a place where my dream of freedom may come true amidst the spellbinding beauty and wilderness of the North. So I eventually moved here in February 2010. I first came here to work as a volunteer on an organic farm and I have lived here since. Now I live together with my partner Gustav in a tiny cottage on the hills, where we also have our recording studio. We live off grid and our purpose with this place is to become as self sufficient as possible, in cooperation with the farm community. We experiment with permaculture in our garden and we are also always deepening our knowledge of edible and medicine plants and fungi in the wild nature around, as well as the different uses of natural materials. I indeed also have a spinning wheel and I sometimes spin wool from our sheep. This life is about living in symbiosis with all the living beings we share this place with, learning how to use the resources available and knowing what to give in return.

2.The Nature as a sacred space of observation, learning and nutrition, do you receive messages from it that encourages your music and your being? Can you tell us about your relationship with the Nature and your Spirit Animal (Totem Animal). I’ve also read that you’ve a special relationship with the Birch, a tree related to the Goddess Frigga and her special contact with fertility, beauty, renewal, and so, the mystery of the feminine.  My music and what manifests in nature during its creation are deeply interwoven. I sometimes add the sound of an animal or an atmosphere
that has been an important part of a song journey. I have had several magical and meaningful encounter with owls, which is why they are present in several of my songs. One of the most marking experience I have had was when I had one of my, now seldom, panic attacks and I went out into the darkness of the night to seek inner peace. I sat by my well where the starry sky above was reflected within. One by one, owls started screeching and hooting all around me, like forming a circle in the surrounding trees. This was lasting a little while, at a time when I didn’t hear them so much otherwise. Their songs and presence while looking at the mirrored stars on the quiet water eventually calmed me down so I could get control over my irrational fears and feel safe within again. This experience inspired both my songs Disabrunn and Månesystre from the album Astralseid.  I see the birch as the all-giving mother of the North. It has played a vital role in the life of people living in Northern countries. It has many valuable quality that were necessary to survive in these harsh conditions, that no other tree provides. Birch is the only kind of tree that takes fire even when fresh. Its bark contains oils that easy take fire, but that’s not the only property of it. The Algonquin Indians have a tradition of crafting canoe made essentially of birch bark, and in Scandinavia, it is also used on turf roof (sod roof), where the turf is laid on layers of birch bark making the building water-tight. You can also drink its sap (rich in vitamin C, minerals, antioxidant, etc…) when it rises up in early spring, and you can boil the sap down to a delicious syrup… Those are just some examples among many others.

3.Up next, we would like to know about your music and trance, it is very special. Your songs make us raise and feel the depths of the Being and the Nature. What exactly brought you to them? Some examples, the songs Seidrunar, Ornedans, Seidfylgjur, Sacral Energy. When I am in the process of composing, I often record improvisations. So I don’t have a melody in my head then, but instead give space for an energy to take off within me. I sometime enter in a kind of trance, when I no longer think the melody but feel instead like an ecstatic flow from within taking me from tone to tone. Seidrúnar and Sacral Energy are definitely based on channelling transcendental experiences which I wanted to be reflected in the music. Seidrúnar is inspired by an intense connection with the runes during a sweat lodge ceremony. Sacral Energy is the reconnection to the sacred life-giving energy and to its wild and free expression. 
But trance is just one of my source of inspiration. Some of my songs are written with the intention to strengthen energies in life, that would be more the case for Ørnedans and Seidfylgjur. Ørnedans is a call to the spirit of the eagle and to the wisdom and light it symbolises to me. Seidfylgjur is a call to the spirit of the fylgjur, who are feminine spirits following an individual and his/her fate from birth to death in the Norse mythology. The intention of this song is to get attuned with fate to get the strength to follow a life path.  

4.Seidr magic is a path of transformation and consciousness so, do you believe that it can also be a possible tool for the internal healing? May as a path to awakening initiation process in you? I can only talk from a personal experience and I can say that my journey into the magic of seid is intertwined with my own healing process, but I wouldn’t say that they are necessarily connected. Seid is about opening up to the spirit world and channelling its energies. I often felt that the traumatic events of my life have been in part responsible for opening up to my spiritual path. According to several shamanic traditions, when someone experiences a trauma, sometimes a piece of the soul may “leave” the body to escape a situation too hard to deal with. There is a ritual called soul retrieval, which consists of journeying into the world of spirit to retrieve the missing part and breath it back within. I have done several drum journeys, including soul retrieval, and I feel like every of them has deepened my connection to the spirit world. But there are no record I know of mentioning a ritual related to soul retrieval connected to the practice of seid. Because this tradition died out many centuries ago, we have unfortunately no way of knowing exactly the extent of the seid magic. But I am personally not after replicating a type of magic practiced in the past, but rather taking inspiration for my own path and experience in this lifetime.

5.How it has been for you travelling through the Seidr? Please, would you like to share with us some of your transformative/transmutative experiences with the Seidr and the travels?  Seid feels like being an open channel for whichever energy, song, vision and sound needs to be expressed through me. It is at least how I experience it at this stage of my journey. However, as I mentioned in the previous answer, Seid is more of an inspiration than a spiritual path I am strictly following. I just really want to experience the magic of this world in my unique way. But I can share one of the first time I strongly felt something like channelling. It was when I started deepening my
understanding of seid. I was at a full moon ceremony together with a few viking reenactors. The first night, we visited the burial mound of a volve (a seid practitioner) at Oseberg, where we had a ceremony with drums and singing. Next day, we visited the museum where all the artefacts from the volve’s grave are exhibited, including the boat she was buried in. Toril, a friend of mine, and a few other women asked if we could sing. Shortly after we started singing, I just felt an intense energy rising within me and envisioned it like a bright spiral of light transcending me. There I experienced that the song coming from my voice was beyond my control, so I surrendered to its blissful spell until it faded and the song naturally ended…

6.We’ve to confess, is such a delighted surprise this new EP titled Sacred Feminine. So, what could you explain us about the new EP? Tell us how it has emerged, and please, which has been the calling that made you create it?  Back in spring 2020, I had to revisit a forgotten childhood trauma caused by sexual abuse. As my body and mind remembered and awakened, I had a drum journey to start the process of reintegrating this deeply wounded part of me. I wrote the theme of Måneskygge (Moon Shadow) around the time of this ceremony. This melody gave me true comfort in the middle of my inner darkness and chaos. When my thoughts became more fluid and light, I dreamt the melody of the song Draum (Dream). This song is about holding space for the darkness within, so to transform it into life energy. This is the part of my journey when I was holding space for my inner child and for all my fear, anger and emotions so to sing myself free from this time and place where a part of me had remained imprisoned. The song Sacral Energy is the ecstasy of life and freedom retrieved. I had an incredibly intense ceremony on a top of a mountain, where I drummed, sang and danced, feeling a deep connection to the healing feminine spirit. Thinking back on the initial drum journey, the visions I had were like a retimed and compressed version of the journey ahead of me the following months, which gave birth to Sacred Feminine.

7.Sacred Feminine is a concept that takes back an integrated and true connection of our essence. Do you feel is time to unite this legacy? Time to pick it up and make room for it? The sacred feminine has many qualities/attributes, among which the allloving, nurturing, vulnerable, emotional, intuitive, protective, wild, deep, transformative, life-giver and regenerative.
Feminine and masculine energies are both sacred and a balance between them both initiates life and harmony. However, the sacred feminine has been severely repressed all too long in all too many cultures around the world. Now is absolutely about time to reintegrate its medicine within our world. 

8.When we heard the song Sacral Energy several times, it has resonated in the deepest waters, as far as the anchor to the earth and the generating energy that pulsates all life are located, how does the union of Shakti and Urd emerge so?  I see both Urd and Shakti as primal cosmic feminine energies. To me these energies are timeless. They represent the essence of life, the spring of fate beholding all possible outcome, spinning the whole universe in motion.

9.What is the primeval connection that starts in a circle for you? For example, such as when people who gather for a ritual, which is the point that connects it and makes it linked?  I have always had difficulties communicating with people, but when I start drumming and singing, this is when I feel I can freely express myself without the need for words. When we start drumming and singing together in a group, it is a connection from heart to heart and from soul to soul. For me, this is when we truly bind our essences, like a proper introduction to each other’s true vibe. That moment is the key for me to feel a genuine connection within any given circle, whether mixed or only women.  

10.Meeting in a circle means an encounter celebration and also anchoring our roots, do you feel that this awakens our memory as a tribe and ancestral wisdom? I think that circles unite people and make us feel a part of a community. I often hear people say it feels like this is what we have always been doing in the past but this is something we have lost and should bring back. In a world where we are taught to be individualistic and competitive with each other, we can tend to forget that we are all depending on each other for the well being of our society. I think being into a circle can remind us of our interconnectivity with each other and that we all have our unique gift and place that is equally important for balance and harmony. 

11.How do you experiment the anchor bond by bringing together the women that make us connect with the tribe energy of the ancestors? When we gather and weave our magic together, we create a safe space for our authentic feminine self to express itself. We hold space for our
tears and our wounds. We inspire each other and support each other’s path. When we gather together and we drum, sing and dance our emotions, our wilderness and our energy, we wake our feminine magic and we can heal.

12.In each Phase of the Moon different women are represented. Do you feel the different forms of every women who live in you? How do you perceive the Moon? It can feel like I am a child, a grown up and an old woman all at once. The child is the side of me that gets amazed and see magic everywhere in the world around, the grown up is the side of me that takes a stand, face challenges and experience life in a conscious way while the old woman is that grounding inner peace and wisdom.  I sometimes use the phases of the moon for inner work. A new moon is a time to seed a new intention, a full moon symbolises its completion and the waning moon is the harvest or the result and consequences. But sometimes I also simply just enjoy the mystifying beauty of the moon. Sometimes it’s all it’s about, simply witnessing this world with wonder and love.

13.The Dance is present and visible in every creation from the Nature. ¿Awakening our intuition through her would be a path? I must be honest, I haven’t had much of a strong connection with dance before, except for the occasional dancing while drumming. But I haven’t understood the depth of its power before the mountain ceremony I had last summer (the one I mentioned earlier that originated the song Sacral Energy). For the first time I felt how liberating and empowering dance is in a profound way. I think that anything creative and artistic (music, painting, dance… etc) is a way of awakening intuition, each in their own way. Indefinitely gratitude for your time and dedication to us. We collect this interview as a special present while accompany us throw the path of the sacred female powers, magic, and blessings. 

  Entrevista : Julia Cruzan Payas – Colaboración NeferShu- Círculo de Feminidad Alquímica Runahild :

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