Rusalki, ‘plural: Rusalka was perceived as a female Ghost, Water Nymph, Succubus or Mermaid of an Inorganic Feminine Intelligence, who often dwelled in a waterway.

According to most pre-Christian Slavic traditions of Eastern Europe, the Rusalki ghost girls were usually seen as being of an amphibious nature, which indicates reptilian characteristics.


The Rusalki ghost girls primarily live at the bottom of torque whirlpools, which is somewhat reminiscent of what the Yaqui Sorcerer called Don Juan told the author Carlos Castaneda about the Inorganic Feminine Intelligence called the Allies, which also frequents whirlpools.

A salacious Rusalka was seen to stalk the depths of the humid night as a ghost, walking upon the river bank naked or to dance amidst the meadows sky-clad. Should a Rusalka see a handsome male, she would mercilessly hunt him down, fascinating her quarry with erotic songs filling his head.


He would also be tormented by visions of the Rusalka ghost girl sensually dancing before him, so that to mesmerise her prey, leading him away towards the river floor, to live with her; that, or she to haunt his watery astral dreams wherever he goes, such as haunting Faustus Crow as Mephistophina.

There are are also Russian folktales concerning the Rusalki, which have parallels with the Germanic Nix, Irish Banshee and the Glaistig; but most especially in regards to the Hindu/Tantric female faerie sorceresses called Dakini’s, who are also known by the Tibetan Buddhist as Khadomah.


Visual descriptions of the Rusalki reflect their environment, varying in form from region to region, wherein to find Rusalki of fertile areas such as in Belorussia manifesting as seductively beautiful naked maidens who live without men amidst them.

However, In Greater Russia, whose environment is much harsher, the Rusalki appear as lithe gymnastic Scythian Amazons of warrior predilection. But then, they are a fusion between the Valkyries of the (Rus) Vikings and the female spirits of Slavic elder lore.

While in the Ukraine they were often linked to water. In Northern Russia, the Rusalki manifest as hideous hags, who are very hairy wild-women; whereas others of this region describe the Rusalki as being sinfully wicked young ghost girls, who manifest as very attractive Ice maidens of carnally perverse wanton wiles, with wild dishevelled hair.


One folklorist discovered tales, which described the Rusalki ghost girls as being similar to Vampires: “They were naked, wan, and cadaverous, like drowned corpses, and their eyes shone with evil green fire.” (Johnson, Kenneth. Slavic Sorcery: Shamanic Journey of Initiation. St. Paul, MN: Llewellyn Publications, 1998: page: 155)


The Vampire aspect of the Rusalki ghost girls is very much like the nature of the Viking (Rus) Valkyries who, as death angels, are attracted to conflict; they can either protect a warrior from harm, or determine his fate in battle.

The Rusalki ghost girls are usually perceived as beautiful fish-women or as Mermaids who are commonly portrayed in Slavic folk-art and fairytales as stunningly seductive creatures, whose beauty is unrivalled by any mortal woman.


Another folklorist related: “In her outward appearance, the Rusalka matched the natural beauty amid which she lived. Her fair tresses flowing in an eddying endless stream, her fine features framing her fathomless eyes; simply to see her was to ache with desire.” (Phillips, Charles. “Spirit Masters and Little Demons.” Forests of the Vampire: Slavic Myth. Myth and Mankind Ser. Amsterdam: Time-Life Books, 1999: pages: 58-77.)

While other informants describe the Rusalki as: “their faces are pale like the moon, and they wear robes of mist or green leaves, or perhaps a white robe without a belt. Their hair is green, or brown, decorated with flowers” (Johnson 155). The ethereal beauty of the Rusalki can only be tarnished by the windows to their inner beings, which are as their spiral eyes, of gold flecked green flame, telling of their tragic beginnings.


The Rusalki ghost girls are most commonly perceived to be the spirits of young women who have met their dire fate by drowning in deep waters, whether by accident, suicide or by malicious intent, or to have been murdered by their own mothers. However, the motif of ‘drowning’ may actually allude to trance Induction of which the feminine is most adept at. The Rusalki have since been transformed into aliens emanating from another dimension, or to have otherwise descended from the starry ocean of the cosmos as blond haired Vril Angels, who are mistakenly described as being Nordics extraterrestrials. But then as Tesla Muses, they did beat the Operation Paperclip ‘Nazi Assisted Space Agency’ to get into space.

“Belief in them is most widely spread among the Russian’s (the Christian practitioners of Dvoeverie), who hold that they are children who have died un-baptised, or have been drowned or suffocated, or else that they are girls and young wives who have met an unnatural death, or have been cursed by their parents” (Máchel, Jan. “Slavic Mythology” The Mythology of All Races. Vol. 3. Celtic & Slavic. Eds. Louis Herbert Gray and Consult. Ed. George Foot Moore. Boston: Marshall Jones Co., 1916: 13 vols: pages: 214-312.)


These ghosts of drowned girls are perceived to spend some time in a purgatorial limbo state before becoming a Rusalki, as if to allude to an Initiatory period of training. During this time of Initiation the young Rusalki are known by the Russian as a Navki, or in Polish as Látawci Navki who are reputed to appear in the form of birds, which cry out wailing cries like forlorn infants. The Navki continuously comb the countryside in search of their former mothers, who would be quite shocked by what their daughters are becoming of a Pussy-Riot rebel generation. But what do you expect; there be a commonality of Playgirl Grimoires listing butch ‘Animus’ Angels and Demons; whereas Playboy Grimoires are not to be found of conjuring the ‘Anima’ manifestations of the Succubae Rusalka, such as the one time Succubus, named Astarte, who be otherwise known as Astaroth.

The young Navki ghost girls are usually seen to be rejected by the mother Church of Rome, whose patriarchs greatly fear them with deep dread, due to their malign reputation of jealously attacking those Christian women who are said to be close to the time of childbirth. Although this has more to do with attempting to stop a child from being brainwashed into the appropriated ancestral-self-identity of another people, whose cultural construct of a Abrahamic religion had been stolen by Rome.


The initiatory period of wandering for these angry ghosts of the Navki lasts for seven long years, which seems to indicate an elder tradition of training young girls by some form of ancient matriarchal religion. The chosen girls were no doubt highly adept at trance (drowning) induction, who left their natural mothers in order to be trained. However, those of a Christian disposition perceive the Navki as begging anyone of the Abrahamic monotheist faiths, who will listen to their sad ghost tale, to baptize them. But if the Navki cannot find a Christian cultist to take pity on their wailing voices, to utter Biblical prayers, they are doomed to spend the rest of their days as Pagan (Succubae) Rusalki. As rebellious Pussy-Riot Rusalki, their predatory nature is to seek out Alpha males with one time Order Of The Dracul fast horses to that of Illuminati sports cars, both of which denote big Vatican wallets to suck dry.

It is those quiet spots out of the way ‘power-places’ along woodland brooks and rivers where the Rusalki are seen to live, who also deeply dwell within the bottom of still lakes and ponds, or under the continual turbulence of sharp rapids. There are certain times under stars, revolving as a Zodiac clock, when they eventually emerge from out of their underwater world. The Rusalki are then found to be sitting upon their shores near ‘spiral’ engraved standing stones. Or to be otherwise found perching within sanctified ritual world-trees of prayer offerings, wearing nothing but feathered cloaks, where the Rusalki attempt to, “attract young people by imitating the crying of infants or laughing, giggling, and clapping their hands.” (Máchel: 253).


Many of the Eastern European folk stories describe the Rusalki realm of their underwater Harem abode as, “a place of entrancing beauty, its vast marbled chambers hung with crystal chandeliers, its walls and floors set with gold and precious stones.” (Phillips, Charles. “Spirit Masters and Little Demons.” Forests of the Vampire: Slavic Myth. Myth and Mankind Ser. Amsterdam: Time-Life Books, 1999: pages: 58-77.)


But as beautiful as these underwater dream Harems of trance realm be, the amphibious Rusalki between and betwixt realities yearn to return to the land when summer approaches whereby, “the waters are warmed by the rays of the life-giving light, they have to return to the trees, the houses of the dead.” (Johnson: 155).

The Rusalki ghost girls were believed to be at their most sexually dangerous during the Rusalye, Rusaliia ‘Rusalki Week’ of early June for at this time, they to have left their watery uterine depths so that to seductively swing upon branches of sacred Birch of forest and Willow trees, near waters at night, chanting out their hypnotic Spell-formulae. The honouring of the Rusalki’s sacred tree is usually that of the Birch.


The Slavic peoples of pre-Christian Eastern Europe used to believe that trees are highly evolved beings, which are far more connected to humans than other plants and animals. This belief is not too dissimilar to the ancient Celtic perspective of sacred trees. The Birch tree is one of the primary holy trees of the Siberian Shaman, which is perceived to be the ‘World-Tree.’ The Birch tree, in particular, is seen as being, “the locus for the coming together of the living and the dead, the communion of animal, plant and human life.” (Hubbs, Joanna. Mother Russia: The Feminine Myth in Russian Culture. Bloomington: Indiana UP, 1988: page: 33).

During Rusalki Week of partying, Birch Trees are usually decorated with flowers and other offerings such as prayer bundles, where they stand naturally, or branches of the tree may be brought into the home to be made into birch-garlands. Other village communities have been known to send young men into their local forest to fell a Birch, “which the girls dressed in women’s robes decorated with bright ribbons and pieces of cloth.” (Johnson: 157).


The Birch tree was then duly carried into the village, while songs were sung over it and the arrival of the Birch into the village was heralded by a ritual meal. This sacred effigy of the Birch was then erected in a specially made ritual house at the centre of the village, where she presided over the week’s festivities as a deity. This ritual is reminiscent of another Russian deity and powerful Sorceress called Baba-Yaga of a similar type to that of the Scottish Highlands, Cailleacch Bheur, whose nature is akin to Hindu Kali who lives in a ‘hut’, which stands on Bird legs amidst a Birch tree forest; whereby the Rusalki are as her faerie sorceresses.

Swimming during this week was strictly forbidden especially to for pubescent young girls and boys just entering maturity, lest Mermaids would drag the girls down to the river floor to make like themselves; while the boys are seduced by wet dream torments. Some folklorists have noted that the word Rusalka originally referred to the dances of girls at Whitsuntide. The word is conjectured to have been derived from the Greek, and that of ‘Rosalia’, the Latin term for Whitsuntide week, which originally meant ‘the festival of Roses’.


The Rusalki ghost girls are seen to spend their time combing their long luxurious braided hair, where their power to be, playing amongst themselves, dancing circles to lure female seekers to their little deaths, drowning into trance so that to initiate them into their arcane pre-Christian mysteries, while the men they to seduce.

The Rusalki are also known for being spinners of webs, who hang the results of their labours within sacred trees, or to draw spirals upon banks near flowing waters, where anyone passing should be wary of stepping upon. The Rusalki are also known for being the spinners of ‘time’ and that of your fate, who possess the power to affect the lives of local inhabitants, they, “decided who died and who would be reborn, who prospered and who perished, who married and who would be barren.” (Hubbs: 33).


The Amphibious natured Navki and Rusalki ghost girls are in essence a folktale memory of ancient priestesses of a matriarchal Religion, who were adept at trance (drowning) Induction. The Rusalki were very likely female Shamans due to their close proximity with other North-Central Asian Shamanistic traditions such as those found in Siberia. The coming of Christianity could not handle the elder focus upon a ‘feminine Inorganic Intelligence;’ but most especially in regards to the predatory sexual orientation of an alternate Grimoire listing Succubae, which made the Christian priests to go around Cross-legged, fearing that their manhood would be enticed into a deep moist Slavic maw, forever hungering of an all female Goetia.



  1. Dear Faustus Crow, i really enjoyed Your latest article. However I would like to point out, that there are other female spiritual beeings similiar to the Rusalki which could be analogous to the western conception of valkyres. These are the bojanas the grand-daughters of Vesta. (“boj” literraly translates as a noun: battle or as a verb: “to fear” or “to be feared”). I think that this video is about the birth of a rusalka (injustly killed young girl)

    • FAUSTUS CROW Says:

      There are many examples of female spirits, which are analogous to Succubae from numerous cultures across the globe. which indicates a commonality of an inner experience.

      However, only certain cultures developed techniques in order to utilise the phenomenon for consciousness expansion, such as to be found in Tantric Hinduism, and in turn Tibetan Buddhism, in regards to conjuring Dakinis, for example.

      Although, there may be indications that there was a cross-cultural influence between India and Northern Europe, concerning the symbolism found on the Gundestrup cauldron, along with intriguing mythic links, which point at the Valkyries being of similarity to the Dakinis.

      If so, you can then look to the Mahabharata, which describes the battlefield over which the Dakinis (Valkyries) to hover, as representing the conflict of all life.

      A pre-Islamic Arab may have equated the Valkyries (Bojanas) with Djinn, who are made of living (fire-bird) flame, which points at the bio-photon fire emanating from the mitochondrial DNA, which is passed down from the (Vesta) mother to her children, whose fire illuminates the electron dream.

      There will of course be those who will say that there is no historical evidence of a cross-cultural influence, whose traditionalist orientation is primarily religious; even though much of the elder lore of Europe has been lost, which makes the present European perspective rather two-dimensional of a warrior ethic; this outlook feeds into the Heavy Metal mystique of the medieval horror fare Gothic, which was never the heyday of magic, but that of its eradication by the Church of Rome.

      Rome once considered the Vestal (Bojanas) virgins as being sacred, who kept Vesta’s flame burning; but when Rome appropriated the ancestral-self-identity of the Hebrew’s such was soon forgotten.

      The propaganda of the Roman Church was very much into demeaning the elder lore of Europe, which makes out that one’s ancestors indulged in wholesale human sacrifice; this leads one to the Rusalki, ghost girls which of some lurid descriptions, are said to be the spirits of (unjustly murdered) sacrificed maidens.

      In actuality, such was not the case; the sacrifice was that of self-sacrifice into trance. But, there are those who interpret it literally just as they see Odin hanging himself upon the world-tree as being literal. The reason for the literal interpretation of the symbolism is due to the fact that these individuals know nothing about the inner reality; for they have forgotten how to dream; hence lucid dreaming is something they cannot fathom as being real.

      However, the motif of (strangulation) hanging refers to deep (reptilian brainstem) trance ingress; as for the world-tree, it symbolises the (nervous system) spinal-column.

      The symbolism is somewhat misunderstood concerning the Rusalki, who of the flesh, were one time shamanic practitioners, whose speciality was that of trance, which was symbolised as (strangulation/hanging) drowning; whereas the realm of the dream was represented by the watery depths.

  2. Also in western slavic mythology there are creatures bound to water (male or female) posessing great magical power. They are called the Vodnars. They are deciphythed as a completly different race from humans dwelling underwater and trapping souls into jars. The english term for them is Vodyanoy (Volodya in russian). Volodya means the same time a person who was born in the sign of the aquarius:

    • FAUSTUS CROW Says:

      The Vodnars sound like European shamans, who have been translated into myth as creatures set aside from the rest of humanity. Since much of the shamanic lore of Europe has been lost, in order to gauge what the Vodnars were, one will have to look to other cultures, such as Siberia, which has not lost its shamanic legacy.

      As stated earlier, the domain of the dream, was often equated with the watery depths in a number of cultures.

      Those who were adept at accessing the watery realm of the dream via trance were seen to be amphibious of nature; hence you have amphibian and reptilian symbolism being utilised to represent shamanic trance adepts, such as the Dogon, fish headed beings called Nommo, the Sumerian/Babylonian, Oannes of the Annunaki, the Dragons of the far East, as well as the Naga of India, etc; such symbolism can be found in all cultures across the globe.

      It is the reasoning behind why the Abrahamic faiths demonised the symbolism of the amphibian/reptile of David Icke continuance, which originally represented the Horned shaman, who was then made out to be after your soul, to verily trap in a jar; alas, your soul is already trapped within a symbolic matrix of a jar, which has been wrought by the Church of Rome.

      Perhaps, the Zodiac age of Aquarius will usher in the horned shamans return, when the age of Pisces to end.

  3. Randompolishgirl Says:

    you do realize that all the videos you added as well as the girl on most of the pics is polish, right? 😀

    • FAUSTUS CROW Says:

      Yes, I know… cool videos. As for the Rusalka, she has haunting looks… but then, what do you expect when she calls herself, Luxuria ‘Astaroth’…

      There are some who consider everything East of Germany as being Eastern Europe, others to argue the point. However, the geographical division of Europe has Poland as being part of Central Europe, which includes Germany, Austria, Switzerland, Slovakia, Hungary and the Czech Republic.

      As for the Eastern European countries they include Ukraine, Belarus, Estonia, Latvia, Lithuania and Russia.

      During the Cold War, there was a political division of Europe. All those countries, which were under the former influence of the Soviet Union before 1989 were considered to be Eastern European, including Poland, Czech Republic, Slovakia, Hungary, Slovenia, Croatia, Ukraine, Belarus, Estonia, Lithuania, Latvia, Bulgaria, Romania, Moldova, Serbia, Montenegro, Macedonia, which were also termed as the Eastern Bloc.

      The former Eastern European countries have many cultural affinities with one another due to their Slavic heritage; whereas the present Central European countries, such as Germany, Austria and Switzerland are culturally distinctive.

      For example, some may identify themselves as being Central European due to the geographical division; whereas others may see themselves as being Eastern European in regards to ‘Cultural Affinities,’ or both simultaneous, to Peace party, should the inane Cold War politics be cut out of the equation.

      Overall, the article is about the ‘cultural affinities’ shared by the Slavic peoples, hence the usage of the terminology, Eastern European.

      Whereas if I was covering the ‘cultural affinities’ shared between Germany, Austria and Switzerland, whose peoples had a shared focus upon the shamanic deity the Germanic peoples of Germany and Austria called Wotan, the Swiss knew as Odin, I might just use the terminology, Central European.

      Although, it would probably be more accurate to use the term, Northern European, than Central European, in regards to the cultural affinities shared by Germany, Austria and Switzerland.

      No doubt if I did so, someone would question the usage of the term Northern European, let alone Central European.

  4. Hello, check this very nice video regarding “Wodniks” It is a beutifull peace I am sure You will know to appriciate:

    • FAUSTUS CROW Says:

      An entertaining Hammer Horror music video, of a Medieval Gothic tale, inspiring the Witcher franchise.

      The usual symbolic motifs are all there, concerning sex, death and Femme Fatale temptresses, which to have tormented the closeted dreams of the Witch burning Judaeo-Christian Monks unto the present of Death Metal.

      Although your Pagan foebears whom to haunt still, will no doubt be somewhat irate that their elder lore is being consistently demonised of a continuing Romano-Christian engineered Viral-Meme, inspiring fear.

      But hey! Its only Hammer Horror entertainment. The Witcher games are really eye-candy cool by the way.

      The video could have been done a differently though; let’s say that the principle male character is wearing a large wooden cross around his neck, who after chasing a boar, hits his head on a branch, and falls over bloodied into a lake, to near hang due to his necklace/cross getting snagged; suddenly he becomes aware of a damsel in distress.

      The watery damsel is being pursued by perverse Zombie/Ghoul Christian Monks/Priests, who then drag her under the surface of the lake. As she is dragged under by the Zombie minions of the Church, the Christian dives in to save her, who is totally unaware that it is all a ruse.

      The Christian duly finds himself in the watery dream realm of the ancestral dead, who is then tormented by the fact he has totally lost his own Ancestral-Self-Identity.

      He is then torn apart (Shamanic Dismemberment) by the damsel/Witch and her watery Witch sisters who are dancing around a fiery forge.

      The Witches then rebuild/reforge him anew as a Pagan/Shaman, and in so doing, the principle male character wins back his Ancestral-Self-Identity, which be his Slavic Soul (represented by the damsel), who was initially raped/erased by Rome’s Church, whose brainwashing Scientology cult had appropriated the ancestral-self-identity of another people.

      He then awakens after his bloodied fall, to find that it was a watery dream. His wooden cross is seen to be sinking into mud. However, in the distance he hears the eerie sound of of a woman’s laughter.

      If the video had utilised the above scenario it would have communicated the very real Hammer Horror of the Witch burning genocide and the decimation of the Ancestral-Self-Identity of a people.

      But if the band/video makers had done so, it would really piss off the Christian audience, who buy the bands music, which of a mass-media industry often panders to the indoctrinated audience dishing out the Shekels; whereupon perpetuating Rome’s Hammer Horror Death Metal Viral-Meme.

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