Thank you for considering my invitation to participate as a guest in the Amuseum Podcast.
About the Amuseum
The Amuseum is my vessel for query-based media projects exploring the crossroads of consciousness and materiality, magic and science, imagination and memory, history and myth. I publish podcasts, project-blogs, video-essays and the occasional short-film.
About Incantations:
Irritated by the misinformation circling on WitchTok and Instagram, I decided to set the record straight by writing a quick blog post titled What is a Witch?
It seemed simple enough….
Two years later, Incantations: Raising the Witch through History, Myth, and Gossip is an ongoing multimedia research project exploring our collective understanding of the witch and the evolution of the archetype across time. My specific areas of interest are the similarities in magical practices across cultures and historical periods, the persistent and disproportionate association of witchcraft with women, and how and why the witch has shifted from social outsider to cultural influencer — and what that shift might mean.
Incantations will be published as a podcast series – interviews with academics, artists, and practitioners, a Substack newsletter, a series of digital exhibitions, and a long-form video essay.
Project Outline:
The following outline represents the current shape of the project. It is a living document — my research continues to inform and redirect it. All titles are working titles and will evolve as the project evolves.
Part 1: Is Witchcraft Ancient?
Ancient Mesopotamia — A witch is someone practicing unsanctioned rites and magic?
- Temples, priests, priestesses and practices. The temples practice magic in a way that we would recognise as witchcraft today. Witches are those who practice magic outside the temple?
- The Codex of Ur-Namma — anti-witchcraft laws — against accusing others of witchcraft. What is it they are accusing?
- The Maqlu — anti-witchcraft magic and rituals.
Ancient Egypt — What is a Witch? We don’t know.
- Egyptian animism
- The influence of ancient Egypt on modern western magic and the occult
- The absence of witches in Egypt
The Graeco-Roman World — Witches practice magic professionally.
- Magic in everyday society
- Mageia and goetia — licit and illicit magic
- The Twelve Tables laws on witchcraft
- The fast-growing influence of Christianity
Witches of the Bible — Witches are women who act against the word of God.
- The Witch of Endor
- Jezebel
- Herodias and Salome
Part 2: The Devil’s Work?
The Middle Ages: 5th–15th Century — Witches are threats to the community: dependents, the poor, women without men.
- The collective imagination sees the Middle Ages as the witch’s natural home — the land of fairytales, legends, courtly love, and questing knights
- Localised traditions increasingly absorbing Christian practices
- The growing power of the church and the creeping definition of witches and witchcraft, particularly in relation to women
- The witch as divisive — healer, cunning-woman, increasingly seen as suspicious and unpredictable. The suspicions of the community create the witch trials.
The Early Modern Period: 16th–18th Century
- The Witch Trials — a brief obligatory mention — a toxic result of church desire for power and small-town politics
- Revolutions, science, nation-building
- Witches don’t exist, magic doesn’t exist — but neither does spirit or consciousness in nature or animals
- The Enlightenment didn’t just dismiss witches — it denied the possibility of any consciousness outside the human rational mind
- The Witchcraft Act of 1735 — and equivalent laws across Europe
The Romantics and the Witch: 19th Century — The witch is a mysterious seductress or a cannibalistic crone.
- The Romantics, re-enchantment of nature and the feminine through art, poetry, and music
- D’Aulnoy, de Murat, the Grimms, Perrault — fairytale writers shaping the reputation of witches
- The role of imagination in magic and witchcraft
- Somnambulism, spiritualism, and mesmerism — repressed spirit expressed anyway
- Margaret Murray’s first academic study of witchcraft — its lasting influence and its discreditation
Part 3: I am a Witch, and so am I.
Witchcraft in the 20th Century
- The birth of modern witchcraft — Gerald Gardner
- Vali Myers — the Witch of Positano
- Rosaleen Norton — the Witch of King’s Cross
Second Wave Feminism and the Rebirth of the Witch
- W.I.T.C.H. and reclaiming the witch figure
- The Women’s Spirituality movement of the 1980s
Witchcraft Today
- WitchTok and social media
- The witchcraft explosion — why now?
- Witchcraft, environmentalism, animism, and globalism
Summary and a Look to the Future
The Interview Process:
This is what you can expect from the interview process:
- Ideally, I like to schedule a brief zoom-call so we can connect and meet each other. This meeting is also a chance for you to ask any questions about the production before you commit. If possible, please use the same device and setup you plan to use for the interview—this helps ensure we can capture a clean, usable recording in.
- After this meeting I will send a release form that you will need to sign granting me permission to use our recording in the podcast and in the multi-media essay, as well as clips for promotional purposes. I am happy to provide clips for use on your web-site or social page also.
- I can provide examples of the questions I will ask in advance but my preference is to follow the conversation.
- The interview will take place over Zoom. My preference is to record video as well as audio as I would like to include the video in an experimental multi-media essay I am creating. However, if you are uncomfortable on video, the audio interview is the most important component to me.
- I will send a simple and brief guide to help you prepare for the interview. Good sound and video help us make the most of your contribution.
- An Interview typically takes 45 min. – 1 hour. I am happy to record longer if needed or desired.
- If any part of our conversation touches on sensitive topics, please let me know during or after the interview if you’d like something treated with discretion. I will do my best to be respectful of context, tone, and nuance.
- I aim to complete post-production of the interview within 3 weeks, though publication will be scheduled within the context of the project. You’ll receive an update once your episode is ready to preview and again when it is published.
- After you receive the preview link you can let me know if there are any factual errors or issues with how I have presented our conversation. I retain full editorial control over the work, but I value collaboration and your input. I want to create the best work possible, so if you have feedback, please feel free to share it.
- I am happy to provide clips for your own usage, please credit the podcast so others can find my work.
Thank you for taking the time to read about the project and my interview process. If you are interested in participating or have any questions, please reply to the email I sent, or you can email me at: info (@) theamuseum.ca