A bright and ongoing success story in the Pagan community has been the utilization of crowd-funding sites like IndieGoGo and Kickstarter to collectively raise funds for important projects. Starhawk raised over $75,000 dollars to help fund a pitch-reel in order get a feature film based on her book “The Fifth Sacred Thing” made. Peter Dybing helped raise $30,000 dollars for Doctors Without Borders in the wake of the 2011 Japan earthquake and tsunami. Pagan singer-songwriter SJ Tucker was amazed when a Kickstarter campaign for Tricky Pixie’s European tour more than doubled their initial goal in a matter of hours (and kept on growing). In addition, several smaller initiatives have managed to collectively raise thousands for Pagan projects: The readers of The Wild Hunt funded the proposed budget of this site for a year, Chicago-based Pagan/magical performance troupe Terra Mysterium raised funds for their new show “The Alembic,”and the Goddess community funded a documentary film in honor of Merlin Stone. Crowdfunding sites allow an easy mechanism for fundraising in communities that may have social networks and organizations, but not the robust money-raising infrastructure of already-established mainstream institutions. This is a place modern Paganism is in today, and more and more of us are turning to these sites as a solution to our “money problem.” There are hundreds of thousands of Pagans out there, millions around the world, and they desire to see our projects and initiatives advance just as much as any other faith community.
There are lots of articles and essays of interest to modern Pagans out there, sometimes more than I can write about in-depth in any given week. So The Wild Hunt must unleash the hounds in order to round them all up. Artist Lauren Raine is holding a Kickstarter campaign to create 21 new pieces in her Masks of the Goddess series. Previous collections in this series have been used by several Pagan groups for ritual purposes, most notably Reclaiming. The new collection will be held in trust for future community use.
For those of you, including me, who didn’t get a chance to see Alejandro Amenábar’s “Agora”, based on the story of Hypatia of Alexandria, at the handful of art theaters it played at this Summer the wait is finally coming to an end. The film is being released on DVD on October 9th, as well as being made available on Netflix. “Agora”, despite doing very well in Europe, got a mixed response from American movie critics (literally split down the middle), and never managed to break out from its delayed and limited release schedule. However, among Pagans who saw it, the response was almost unanimously positive and emotional. “By the end of the film I was weeping: for Hypatia, for our destroyed Pagan history, and for humanity itself, that doggedly pursued zealotry and ignorance over and above knowledge and reason.”
Top Story: Alejandro Amenábar’s film “Agora”, based on the story of Hypatia of Alexandria, finally saw a limited release in art-house theaters at the beginning of the Summer season. The film, despite doing very well in Europe, and getting generally positive reviews from American critics, has failed to draw a big audience or expand beyond its very limited release schedule. In These Times wonders why a film rife with conflicts that should resonate with American audiences has instead fallen flat. “[Rachel Weisz’s] star turn as Hypatia, a scholar and astronomer of pagan background who preaches tolerance and brotherhood in late fourth-century Alexandria while scientifically probing the secrets of the solar system, is apparently not the stuff that draws Americans to the box office … highly prized internationally and Spain’s highest grossing film in 2009; yet it struggled for distribution in the United States before its release here on May 28.
Top Story: Alejandro Amenábar’s film “Agora”, based on the story of Hypatia of Alexandria, is finally seeing a limited release in American theaters this weekend after achieving financial and critical success in Europe last year. American reviews are starting to trickle in, here’s A. O. Scott from the New York Times.
“Mr. Amenábar, working from an insightful script that he wrote with Mateo Gil, focuses on two moments when the ancient culture war reached a fever pitch and shows that no group is entirely innocent of violence and intolerance. Whoever is in power tries to preserve it by fair means or foul, and whoever wants power uses brutality to acquire it. So in the first half of the film the insurgent Christian mob draws pagan blood, and the beleaguered pagan elite, including Theon and Orestes, meets the threat with savagery.”