Pagan film critic/professor Peg Aloi looks at 2022’s offerings and concludes,”This year was a veritable sparkly cornucopia of weird, witchy, wonderful films and TV steeped in occult and pagan imagery and storylines.”
This was number one:
You Won’t Be Alone (2022, dir. Goran Stolevski) This gorgeous film (a Sundance 2022 premiere) set in Eastern Europe in the 19th century is a stunning debut by Australian/Macedonian filmmaker Goran Stolevski. It follows a young woman raised by a witch (drawn from a folklore legend) and the ways she learns about nature and humanity by inhabiting the bodies of different people. It’s a gorgeous exploration of empathy and the possibilities and limits of human existence. With a fine international cast (including Lamb’s Noomi Rapace and Beautiful Creatures’ Alice Englert), lyrical cinematography and a beguiling soundtrack, this was my favorite film of the year. (Full review in The Arts Fuse) (streaming/rental on Prime, AppleTV, Vudu, etc.)
I was researching something about Wicca in Germany, and up popped this Witch Dance video. Apparently the belly-dancers got involved, put some shimmy in the besom brigades’ sweeping, and now it’s an international thing. From Germany, here is the Tribal Gypsy Dance troupe:
And this year in Frenchtown, New Jersey, a plaintive call from the bourgeois bohemians in the YouTube comments:
Hello Tricia. We checked this account but didnt see an email posted by way we could get in touch with you. That said, my husband and I live in Milford NJ. We are throwing a Christmas party and are wondering if you could teach our guests a dance. If so, please let us know your fee. You’re great at teaching groups of people and feel you would make a wonderful addition to the occasion. Please think about it.
I am all for putting your Paganism in the street (or on the beach or Salem Common) where it belongs. But Pagan studies friends, this is waiting for some theoretical lenses!
On the 17th of September, 2022 author, lecturer and ethnobotanist Christian Rätsch (Hamburg, Germany) died of a stomach ulcer that he had been dealing with himself for years. Rätsch leaves behind wife and fellow author Claudia Müller-Ebeling.
Christian Rätsch, Ph.D., is a world-renowned anthropologist and ethnopharmacologist who specializes in the shamanic uses of plants. He is the author of Marijuana Medicine and coauthor of Plants of the Gods, Shamanism and Tantra in the Himalayas,Witchcraft Medicine, and The Encyclopedia of Psychoactive Plants. He lives in Hamburg, Germany, and lectures around the world. He has served as president of the German Society of Ethnomedicine. (Inner Traditions/Bear & Company)
Rätsch was one of the single most important authors of ethnobotanical research, the Poison Path, the Psychedelic Renaissance and poisonous/psychoactive plant lore. He earned a doctorate studying Native American cultures living and studying with indigenous cultures. As a child he became interested in shamanic practices and the study of plants. He worked closely with indigenous plant spirit medicine, preserving an extensive body of traditional lore. He also experimented with various psychedelic substances since a young age, and eventually became friends with LSD researcher Timothy Leary. He is the founder and co-editor of The Yearbook of Ethnomedicine and the Study of Consciousness.
His work was something that I discovered early on in my Poison Path studies, because he was one of the only authors at the time to not only take an interest in poisonous and psychoactive plants but also provide the reader with extensive history, folklore and chemical information from a practical and academic standpoint. His book Witchcraft Medicine: Healing Arts, Shamanic Practices and Healing Plants, was the first work of his that I read, a complete ethnobotanical history of European psychedelic practices in the context of witchcraft.
Originally published in 1979, this book was a precursor to the megalithic Encyclopedia of Psychoactive Plants. Originally written by Richard Evans Schultes and Albert Hoffman, all three titans in their own right. World-renowned anthropologist and ethnopharmacologist Christian Ratsch provides the latest scientific updates to this classic work on psychoactive flora by two eminent researchers.
In my opinion, the single most important modern day compendium of ethnobotanical information in the Western Hemisphere. The book is over 900 pages long with 797 color photographs and 645 black and white drawing. It is a comprehensive tome on sacred plant knowledge from around the world. Accessible and all in one place, this is one of the few books that provides ALL of the available information!
He has written extensively, books and articles, in German.
A Permanent Impact
The work of Christian Rätsch has been invaluable in my own studies of psychoactive and poisonous plants. The tireless work and attention to detail that was required to bring such a tome of knowledge into manifestation is no-doubt divinely driven. While the world has lost an amazingly curious mind, he has left behind a body of work that will continue to grow, evolve and influence those of us continuing this work. I would have loved to have meet you Christian, and thank you for your contribution but I have a feeling we will meet one day.
Witchcraft and paganism exert an insistent pressure from the margins of midcentury British detective fiction. Gladys Mitchell’s Come Away, Death is dedicated to ‘Evelyn Gabriel, whom Artemis bless and Demeter nourish; upon whom Phoebus Apollo shine’.Ngaio Marsh’s Off With His Head revolves around a folk dance when ritual words are muttered and a murder is committed. Margery Allingham’s Look to the Lady depicts the spontaneous rebirth of witchcraft in the depths of the English countryside. The theme appears across the work of multiple writers, going beyond chance occurrence to constitute an ongoing concern in the fiction of the period. This Element investigates the appearance of witchcraft and paganism in the novels of four of the most popular female detective authors of the British mid twentieth century. I approach the theme of witchcraft and paganism not simply as a matter of content, but also as an influence which shapes the narrative and its possibilities. The ‘witchy’ detective novel brings together the conventions of Golden Age fiction with the images and enchantments of witchcraft and paganism to produce a hitherto unstudied mode of detective fiction in the midcentury.
Here, Ross Downing deals with such issues as whether witchcraft and Heathenry were defined differently in the time of King Alfred the Great in the late 9th century, including details as the execution of condemned witches as well as animals accused of being witches’ familiars (although that was not the Anglo-Saxon term), including ethnic and gender issues in witchcraft accusations.
These all look fascinating, and I will have to watch three a week to finish by Candlemas. Read more about the conference, which focused on Scandinavian but here includes Anglo-Saxon and Danish-ruled England.
She explains how her interest in today’s Witches and Pagans grew from earlier research on the Salem Witch Trials and similar events. In the mid-1980s, she gave a series of lectures at the Boston Public Library — and realized who was in the audience.
The audience for each of the lectures varied with some people who attended every week and others who came only for a particular lecture. One elderly woman with white hair always sat in the front row, listened intently, and asked interesting questions. I looked forward to seeing her there every week. At the final lecture, when I said what was then a surprising fact; Witches looked like everyone else. You could be living next door to, or working with, a Witch and not know it. She stopped me mid-lecture and asked, “are you saying there could be Witches in the room.” As the average age of the participants had dropped significantly for this lecture, I offered that I thought there probably were Witches in the room. She stood up, turned around with her hands on her hips, and asked, “are there any Witches here?” I think it is because she looked like the quintessential grandmother that a number of people raised their hands.
“I don’t agree with all her views, but in the history of the craft, she is an important person,” said Sabina Magliocco, professor of anthropology and religion at the University of British Columbia. “When you look at all of the witchcraft as feminist resistance that flowered in the Trump era, none of that would have existed if it hadn’t been for what Z and others like her did in the 1970s.”
Here she speaks in Malcolm Brenner’s 1991 documentary Out of the Broom Closet, which was digitized and placed on YouTube by the New Age Movements, Occultism, and Spiritualism Research Library. Archives and Special Collections. Valdosta State University. Valdosta, Georgia.
To be clear, The War on Witchcraft treats historical writing about the late medieval and early modern witchtrials, seen as an outbreak of “unreason.”
From the publisher :
Historians of the early modern witch-hunt often begin histories of their field with the theories propounded by Margaret Murray and Montague Summers in the 1920s. They overlook the lasting impact of nineteenth-century scholarship, in particular the contributions by two American historians, Andrew Dickson White (1832–1918) and George Lincoln Burr (1857–1938). Study of their work and scholarly personae contributes to our understanding of the deeply embedded popular understanding of the witch-hunt as representing an irrational past in opposition to an enlightened present. Yet the men’s relationship with each other, and with witchcraft sceptics – the heroes of their studies – also demonstrates how their writings were part of a larger war against ‘unreason’. This Element thus lays bare the ways scholarly masculinity helped shape witchcraft historiography, a field of study often seen as dominated by feminist scholarship. Such meditation on past practice may foster reflection on contemporary models of history writing.
Much of the same content exists today, if you care to look for it, on Tumbler.com and elsewhere. But I don’t know who makes money off it.
Author David Flint notes,
Today, there are several witchcraft magazines in print, but all seem to take themselves and their craft very seriously, and I very much doubt that most of the Witches of Instagram would be very amused by the cheerfully exploitative nature of these ancient publications. But I might be wrong – perhaps there is a gap in the market waiting to be filled. If so, then we are happy to step up and revive this gloriously tacky, cheesy and outrageous world of sex, sin and Satanism.