Who We Are
Docteur Caeli D'anto
I was born in Lima, Peru, a place steeped in a form of Catholicism unlike any other, where African-Diasporic, Native South American, and Iberian traditions fused in order to provide a unique type of worship and magical system which is still being practiced 400 years later and where magic is as common as going to school or work. It was common place to witness a procession in October with thousands of attendees in purple surrounding the colossal icon of the Lord of Miracles, signifying that they themselves had witnessed something miraculous the year before, members of my family included. Miracles and mysticism were and still are everywhere. It was my mother who first introduced me to these authentic occult traditions. She was a part of the Hermanos Seguidores de Jesús, a Catholic-folk healing congregation. Among saint statues and rose colored light, the women would perform healing works through
Lord of Miracles Procession (Photo: La Republica)whispered prayer and enigmatic hand gestures which they call el fluido. It is this environment, and power that these women invoked, that mesmerized my fascination and began my journey. I sat and watched absorbing as much information as I could when my mother would divine with La Baraja Española, and it is her powerful and unique layout that I carry on through my work which gives me the ability to give extremely detailed readings.
From an early age I spoke to the dead through reflective glass. My mother would often find me staring out the window in the dead of night talking to unseen figures, able to recount loved ones that passed before I was born. In 1989 we moved to the United States, and after a period of culture shock, I began to reconnect with my spiritual roots and the wandering shades began to visit me again.
La Sosyete Fòs Fè Yo Wè (2011)Although serving the lwa for many years, in the Fall of 2012, I formally initiated as a hounsi senp of Mambo Chita Tann and her Haitian Vodou house La Sosyete Fòs Fè Yo Wè; located in San Jose, California, a sosyete that is part of the lineage of the widely respected Mambo Marie Carmel Charles of Sosyete La Fraîcheur Belle Fleur Guinea of New Orleans, LA and La Pleine, Haiti. Alongside the lwa, in separate practice, I have received the gods of my Roman ancestors and maintain a traditional household cult in Their honor. These religions have woven into my observance and work with my ancestors, the saints, and the spirits of the places around me.
Sainte Thérèse de Liseaux
La Beatita De Humay
La Beatita de Humay Sanctuary. Humay, Ica, Peru.
I still maintain my work with the dead, and am heavily involved in necromancy, able to see shades, and commune with the ghosts who haunt the land, the roads, as well as homes and cemeteries. I work conjure, hoodoo, and rootwork according to my specific upbringing, and am well known for my art of fortunetelling, attracting those who seek a glimpse into their past, present, and future. I am most sought for my work with lamps, and candles, as well as the dead specifically. I have no problem getting my hands dirty and implore all tactics of Arte to achieve the client’s goal. While I can do love, court, or reconciliation work, I first require consultations to determine the will, patience, and understanding of the client.
There are spirits who dance in the drum-beat, gods who stand at the doorways, and the dead are always around. Let us embrace their company and take the hand of our own Fate!
My start into the occult began in Upstate and Central New York around campfires in the dark Summer night, telling stories of ghosts and witches. Growing up in an Italian and Irish household superstition was a part of everyday life, and my mother, a psychic and witch enthusiast who would give us fortunes and warnings based on dreams and tell us of her past of dabbling in witchcraft, reinforced these ideas. From her love of Halloween, and the tarot cards I would steal from her, she kept magic and witchcraft around us, and it was in 1998 that my sisters and I began to learn more and more about it. We would get books on the subject from the library, and as children, steal away to the woods and add ingredients from the forest floor to kitchen pots attempting to summon unseen powers and listen to the groan of the trees to try to figure out their language, and through my love of Hellenic gods, a love and now a devotion to that my father taught me, I firmly believed that Pan, God of Groves, wandered those woods with a retinue of faeries, nymphs, and satyrs, a belief my young nieces and nephew maintain. We would build temples to the forests and the Sun in fallen trees, and play in the many pine groves. By doing so, we felt initiated into mysterious cults we found. Our world was full of ghosts and witches, and at least for me, ancient and powerful gods.
Throughout my teenage years I was infatuated with the darker gods and spirits. I used a large black ceramic chess piece, the king, as a statue of Hades, and carried a bag of charms, stones, and tools I would use to cast curses and set shrines to Infernal gods. My school locker was filled with skulls and bones of animals and pictures of demons and occult symbols. And by all accounts I was a popular outcast known as a witch, and to some, a devil worshipper, through their own ignorance. Through my youth I formed quite a few witch covens. The first when I was in 6th grade that consisted of only myself and a friend, the next in 9th grade including a few more friends and my sister, and the last, a more refined and serious circle with only a couple friends as well as my sister. Although these covens weren't long lived, they taught me at a young age how to operate as a serious witch.
As I became an adult I joined a Wiccan coven in Syracuse, New York and although never formally initiating, learned as much as I could about witchcraft, and how it is practiced today. While that system never really connected with me, it opened me up to explore more ancient sources, and I discovered works such as the PGM, Picatrix, and the Egyptian Book of the Dead, as well as that of Agrippa, Ovid, among others. This helped me refine and enhance the tools and techniques I learned directly from the forests. I began to spend more time with like minded witches in cemeteries at night, calling beyond the darkness. As my occult practices grew, the fields and forests of the house I grew up in began to echo with the sound of howling coyotes and wild dogs and I was hooked, encouraged to delve deeper into the darkness and the unknown.
After years of learning the Craft from the forests of my hometown, I moved to Chicago where I began to seek guidance in many of the perils of city life and the drastic changes I was going through. Hekate, Goddess of Crossroads and Queen of Witches answered that call and I knew She was the secret guide behind many of the events of my life. It was then I finally recognized my patrons, Hekate and Pan, who guide and have always guided my work. I also honor and work with other gods and spirits, and specialize in Greco-Roman witchcraft and necromancy, becoming adept in writing rites, invocations, and spells adhering to authentic ancient recipes and formula . My witchcraft can encompass any area including love, reconciliation, cursing, and justice. I can craft kolossoi (wax and clay dolls), and host the Dumb Supper. I still maintain my first divinatory tool, the Runes, and also throw the dice, or read the tarot for those who prefer. Although my main religion is a form of Hellenismos, I serve the lwa of Haitian Vodou with my husband Docteur Caeli. I am an initiated hounsi of Mambo Chita Tann and in these circles I am known as "Twop Pou Yo".
As an artist, I sculpt cult statues and objects, spending time to channel and communicate with the gods and spirits to evoke the image. They are then ritually prepared with an amulet in the heart containing sacred stones, herbs, and other materials to house the divine energy. Once the statue is done, it is consecrated and woken up. This is a practice of my own development that has evolved based on researching widespread methods from around the world ranging from Greece and Rome, to India, and South America. This is one of the things I am best known for, and although others replicate the practice, it is something I pride myself on and still consider unique to my work.
There is a world that overlaps our own. An unseen world where the dead walk our bustling streets and lonely highways. Where gods of darkness chariot through the Night sky drawn by winged dragons, Who haunt secret glades and groves. By Their aide, great things are achieved, and the unimaginable is possible!