Heretic Heroes Part 4: “Let My People Go!” Witchcraft as a Liberation Theology

Most religious systems are ultimately designed as systems of liberation. They may differ in terms of what they think we are in need of liberation from (Sin, Desire, Ignorance, Maya etc.), but my own reading is that they are seeking to offer some sort of solution to our haunting sense of discomfort. While such answers may begin with the insights of an enlightened individual, they rarely remain as such. Given time to evolve and gaze outwards, many religious traditions develop a Mahayanist dimension where the liberation of the individual demands a response to the “other”. Bodhisattva vows and states of kenosis (self-emptying) are no guarantee of socio-political engagement beyond well-intended paternalism, but they can often provide the basis for developing more empowered notions of interdependence and systemic awareness.

The 1950s and 60s witnessed an important movement within the Roman Catholic Church in South America, when people who were engaged with the coal face of day-to-day hardship, re-envisioned the gospel message in relation to political and economic oppression. The Liberation of the Israelites from Egypt and the Gospel message of Christ were viewed as narratives of freedom whereby “the downtrodden were lifted up” (Luke 1:52). With the birth of Liberation Theology in the works of Boff, Gutierrez et al, past dogmas were no longer sufficient, and the rigors of true discipleship were now to be measured in terms of deeds or praxis. As Desmond Tutu powerfully observed; “If you are neutral in situations of injustice, then you have chosen the side of the oppressor.”

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Liberation icon

In recent discussions with some of my siblings from our coven, I’ve been wondering again about the relationship between liberation and this thing we call ‘Witchcraft’. What does Witchcraft claim to offer liberation from? And is it able to embrace or embody liberation at a collective level?

Much ink has been spilt in attempting to define what Witchcraft may or may not have been, and while we have may have re-appropriated it from accusing lips, its evocative potency often evades concrete categorisation.

Cognitive Liberty

In his Europe’s Inner Demons, Norman Cohn masterfully analyses the evidence with regard to the likelihood of the Witches’ Sabbath having any basis in historic fact. Cohn concludes that it was highly unlikely that the fevered imaginings of persecuting clerics had any foundation in relation to some sort of denominational adherence to a set of pan-European ‘night ecstasies’. What seems more evident is that their actions were overwhelmingly directed at other groups of people who still considered themselves Christians. While it is almost inevitable that some of these Christians practiced magic (and by doing so, demonstrated their humanity), the fear projected by these clerics was more often motivated by an ungodly desire to control.

The Church’s ability to control would always be challenged by the heterodoxy of groups such as the Cathars, the Brethren of the Free Spirit and the Beguines, the power of their subjective gnostic experiences being valued above any external authority. Whatever the degree of adherence to such beliefs by the mainstream of society, the ideas that such outsider groups represented embodied a type of cognitive liberty that eroded the hold of any centralised hegemony.

While we may not buy into Michelet’s idealisation of the Witch as Satanic freedom fighter, there is something subversive contained within even the simplest act of folk magic. To express a sense of agency through a magical act that uses means outside or beyond the Church’s recognised sacraments is to commit an act of heteropraxy and defiance.

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“I want my folk magic back!”

Within the collective psyche of Europe, the Witch has often acted as an icon of disturbance and freedom. The projected fantasies of clerics and folkloric imaginings often allude to something dark, disturbing and subversive. The Witch often acts as an attractor for the shadow aspects of those cultures within which they are suspected of dwelling. They are the hags and the shape-shifters whose messy bodies both arouse and unsettle us. They seem to be scapegoats onto whose heads the repressed longings of society are spoken.

In bearing the weight of such dangerous passions they often hold a position on the outer edge of social and ethical evolution. In seeking to own their own sense of spiritual and moral agency, it could be argued that magicians have often played a catalysing role in pushing the boundaries of moral acceptability. When we consider a figure like Crowley and his impact on 20th century culture, while his personal chaos may still make him less than attractive as a role model, the bisexuality and entheogenic exploration that then caused such outrage are now far less contentious.

To question orthodoxies and seek new means for personal exploration will inevitably threaten those for whom stability is paramount. Those of us who consciously embrace identities such as ‘Witch’, ‘Magician’ or ‘Gnostic’ are honor bound to aid our cultures’ development, in prodding them to embrace diversity, multiplicity and liberty. When we take on this mantle we must remain awake to the reality that we both represent the freedom that so many seek, and that we still risk being scapegoated by those who would seek to control.

SD

A Fondness for Snakes – the Art of Marchesa Casati

Imagine that you are invited to an astonishing, opulent house. In the property’s winter garden, near the west wing, dwell fabulous beasts; scaled and feathered marvels. On entering the building you are greeted by a mechanical stuffed panther, moving and growling, its eyes flashing feline fire. You are escorted by exquisitely liveried footmen into the bedchamber of the lady of the house. A woman with kohl ringed eyes dilated with belladonna extract, and wild flame-red hair. She is one of the richest woman in Europe (you have been transported back to France in the 1920s ).

Admitted to the bedchamber you discover your hostess; “…enveloped in white tulle and crowned by an upside-down silver flower pot, adorned by a single white ostrich plume…sat on a vast green carpet made to resemble a grassy lawn.” However the lady is not pleased by the inclusion of felt daisies in the weave of her indoor sward and asks you to join her in snipping off these disagreeable blooms. There are gilded scissors to do the job along with, “…foie gras and champagne served from a picnic basket presented by a black youth in fancy dress”.

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Images of the Marchesa Casati courtesy of Ryersson & Yaccarino and The Casati Archives

This isn’t some baroque hallucinatory event but one of the many real, utterly fabulous, moments in the life of the Marchesa Luisa Casati who, in the early 20th century, was one of the most outlandish, shocking and remarkable figures of the age.

I’d only briefly encountered the Casati story so it wasn’t until reading two wonderful books that I came to appreciate both the significance and astonishing flamboyance of this woman. Infinite Variety: The Life and Legend of The Marchesa Casati by Scot.D.Ryersson & Michael Orlando Yaccarino is a wonderful biography, meticulously researched and a real page-turner of a read (the quotes above are from that volume), and The Marchesa Casati: Portraits of a Muse, a lavishly produced, image rich, large format book by the same authors.

There is a tale of a brief meeting between Casati and Aleister Crowley and it appears they didn’t get along too well. Were history to have unfolded differently in that respect we might already have Thelema as mass global religion (which may or may not be a good thing…) since the Marchesa was easily as much an incarnation of Babalon as Crowley was of the Beast. Like Crowley, Casati shocked the high society of la Belle Époque and the fin de siècle decadence, as nations cranked themselves up for the first century of industrialised warfare. Naked beneath furs, great strings of pearls dragging on the floor, leading her cheetahs on diamond studded leashes, Casati adorned and scandalised the age. She had the money to do so, a vast fortune which, like all interesting people, she blew on sex, drugs, art, parties, and magic.

Though details are obscure Casati was an occultist, with magnificent rooms dedicated to magical pursuits in her various houses. These were spaces of rare esoteric tomes, divinatory equipment, heavy incense and yet more exotic pets; ritual spaces that would undoubtedly have made Crowley as green as the Marchesa’s large eyes, with envy.

The stated (magical) intention of the Marchesa Casati was “I want to be a living work of art”, and this she did. Reading the list of artists that chose her as their subject is like reading a Who’s Who of 20th century European Art: Picasso, Man Ray, Epstein, Augustus John, Alberto Martini, Romaine Brooks… the list goes on. Costume (often outlandish, frequently revealing or otherwise transgressive, sometimes genuinely dangerous), sculpture, photography, painting and  more were enriched by the Marchesa as muse and by her financial support of numerous avant-garde artists.

The Marchesa with her crystal ball

The Marchesa with her crystal ball

Of course like any magical figure Casati managed, in a sense, to disappear. That is, while her money and eventually her body gave out (she died in 1957 and was buried in London, ironically beneath a monument that records her name incorrectly), she was reborn (much as Crowley has been) as an cultural icon. She is ground zero for many of the experiments with identity and style of the late 20th and early 21st century. Madonna, Lady Gaga, even Robert Smith of The Cure and Tim Minchin are (knowingly or not) the aesthetic children of the Marchesa. To quote one online article that explores her legacy; “the Marchesa is possibly the most artistically represented woman in history after the Virgin Mary and Cleopatra– her influence is all around us.”

Perhaps it is fitting, as we head towards Halloween, that I’ll soon have the opportunity to visit Luisa’s final resting place. Beneath the London earth, wearing her black and leopard skin finery and a pair of false eyelashes, Casati is interred with one of her beloved stuffed pekinese dogs. Halloween is of course the season where we celebrate the sign of the Scorpion (emblem of magic, money, sex and death) and seek to commune with our ancestors. Money was undoubtedly a vital ingredient in the story of the Marchesa Luisa Casati and my visit to her grave will coincide with  a spot of collaborative ‘Money Magic’. In the words of one of our conspirators “…a group of independent artists, magicians, pagans, druids, and media workers…plan to hold a series of ritual events in the City of London…Our aim is to bring the subject of money creation to public attention using ritual as our symbolic tool. We say that money is a sigil, a magical symbol which enters our lives on the most fundamental level, as desire. Money represents the fulfillment (or lack) of all desire in the current world and we carry it about on our persons, in our wallets and our purses, in our pockets and handbags, allowing it to control us on the most intimate and secret of levels.”

The Machesa Luisa Casati, like Crowley, displayed a fascinating relationship with money; she went from being one of the richest women of her age to having debts of over $25 million, and ended her days in a one room apartment. Yet according to many commentators she retained an irrepressible joie de vivre even in her most impecunious periods. Casati managed to dispose of her fortune in pursuit of her desire to become ‘a living work of art’ much as Crowley broke the bank with his Will to become ‘the Prophet of the New Aeon’. In both cases their money was used in the service of their ‘highest ideal’, their self-absorbed and yet self-transcending intention. This is an approach to life, to money and wealth, that goes beyond ideas of individual ownership, that spurns the hoarding up of capital for its own sake, and even now, still manages to shock the bourgeoisie.

JV