Esoteric witchcraft television stage is a concept that combines various elements of spirituality, magic, and entertainment. It refers to the use of witchcraft practices and beliefs in televised performances and shows, aimed at captivating the audience and showcasing the esoteric arts. This unique blend of mysticism and television serves as a platform for witches and practitioners to share their knowledge, skills, and beliefs with a wider audience, while also captivating and entertaining viewers. The main idea behind esoteric witchcraft television stage is to demystify and normalize the practice of witchcraft, which has often been misunderstood and shrouded in mystery. By showcasing different aspects of witchcraft, such as spellcasting, divination, and ritualistic practices, on television, it helps to dispel stereotypes and educate viewers about the true nature of these practices. Esoteric witchcraft television stage also provides a platform for witches and practitioners to connect and engage with a broader community.
And then there’s Harry Potter. While J.K. Rowling is now a Johnny Depp apologist, her books of the boy wizard and his witch friends (published between 1997 to 2007) once served as a sort of anti-fascist rhetoric, particularly as the series builds to their rebellion against Voldemort, whom they eventually defeat. And in 2007, at the tail-end of George W. Bush’s staunch Republican presidency, this message was especially valuable and even offered parallels to the war in Iraq. Rowling’s themes are so valuable that they re-ignited at the start of the Trump administration; plot points from the series seemed to pop up in the president’s anti-woman, anti-immigrant, and anti-LGBTQ agenda that even the biggest Potter fans (hello!) begged them to stop.
Rowling is now a Johnny Depp apologist, her books of the boy wizard and his witch friends published between 1997 to 2007 once served as a sort of anti-fascist rhetoric, particularly as the series builds to their rebellion against Voldemort, whom they eventually defeat. Aleister Crowley sat comfortably in the assortment of figures on the cover of The Beatles Sgt Pepper LP ; musicians increasingly looked to occult imagery and themes for their lyrics and work, from Black Sabbath to Pentangle; horror films and genre TV played with occult themes; and imagery pertaining to many sorts of esoteric belief systems crept into everything from logos to Sainsbury s home-brand cornflakes to Pan Paperbacks.
Esoteric witchcraft television stage also provides a platform for witches and practitioners to connect and engage with a broader community. It allows them to showcase their skills and talents, share their beliefs and knowledge, and build a sense of community among viewers who may be interested in witchcraft or have similar spiritual inclinations. Furthermore, the inclusion of witchcraft in television can also be seen as a form of empowerment for witches and practitioners.
Witch reports: unearthing two occult films of the hippie era
In time for Halloween, two rediscovered documentaries shed bizarre new light on the rise of witchcraft and occult practices in Britain after the end of the 1960s.
30 October 2019
Legend of the Witches (1970)By the time the counterculture was in full swing in the mid-1960s, esoteric beliefs had become a significant influence on the hippie dream. Perhaps it was the drip-feed of years of devilish country-manor intrigue in the novels of Dennis Wheatley, the mass intake of drugs, the desire for ritual happenings, or simply the search for alternatives to the traditions of the Christian west.
This bubbling interest burst into all forms of art and media. Aleister Crowley sat comfortably in the assortment of figures on the cover of The Beatles’ Sgt Pepper LP ; musicians increasingly looked to occult imagery and themes for their lyrics and work, from Black Sabbath to Pentangle; horror films and genre TV played with occult themes; and imagery pertaining to many sorts of esoteric belief systems crept into everything from logos to Sainsbury’s home-brand cornflakes to Pan Paperbacks.
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By the 1970s, occult influence was everywhere. Wicca and other forms of modern pagan practice had become extremely popular, and the occult gained an unusually domestic, even swingers’ club flavour. It’s unsurprising then to find a number of documentaries from this period attempting to get to the heart of this popular occulture, and even more unsurprising that such documentaries opted to follow the route of exploitation cinema with its penchant for nudity.
While several documentaries of this ilk were made, two of the most detailed and accomplished were Malcolm Leigh’s Legend of the Witches (1970) and Derek Ford’s Secret Rites (1971), which have been released together on Blu-ray and DVD as part of the BFI ’s Flipside series.
Often aligned with the cycle of ‘witchploitation’ films, Legend of the Witches explores its topic in detail while also recreating the typical eerie atmospheres found in the folk horror films of the same period. Its visuals and set pieces are deeply cinematic: the treatment of rural landscapes, outside of the claustrophobic museums and ceremony rooms the film depicts, is vast and sweeping. As a film, it shares more in common with the work of Kenneth Anger or Benjamin Christensen’s silent classic Häxan: Witchcraft through the Ages (1922) than the skin flicks it probably shared screens with in sleazy Soho cinemas.
Secret Rites (1971)Secret Rites is an altogether different proposition. It’s even more deliciously of its period, capturing the wide-scale craze for Wicca, in this case in Notting Hill Gate. The film opens in almost Hammer horror-like style, with a satire on how such practices are perceived, before exploring the more domestic but still eerie and evocative ritual practices.
Director Derek Ford is best known for naughtiness such as The Wife Swappers (1970) and Suburban Wives (1972) – the latter of which was supported by Secret Rites in cinemas. As such, Secret Rites is filled with nudity, exploiting the shedding of clothing that was typical at such happenings. Add to this its fuzzy psych soundtrack and you have one of the great time-capsules of the counterculture era. It’s hard not to love a film that follows Holland Park hairdressers shopping for the right ceremonial daggers and sex magick gear.
Both of these films showcase Europe’s king of the witches and founder of Alexandrian Wiccan, Birkenhead-born Alex Sanders, an incredibly influential figure in counterculture material and in the infiltration of such esotericism into wider pop culture.
In Secret Rites, his northern accent makes Sanders seem rather more down to earth than the silent, enigmatic figure he’s seen as in Legend of the Witches and elsewhere. The film gives us access to some of Sanders and his wife (and queen of the witches) Maxine’s most private rituals, including the equivalent of a wedding. And as Ford plays on these rituals’ pulpy qualities, they feel far closer to something out of a Wheatley novel than Sanders – who was critical of how Wheatley depicted such rites – would have liked.
Legend of the Witches (1970)One of the most fascinating aspects of Legend of the Witches is how technology was integrated into its initially rural-based rendering of the occult. Alongside its ritual amid rocky outcrops at night, the film transports us to a modernised occult ritual, where stroboscope altars spin dizzying designs on the walls, like a cross between a Pink Floyd light show and the interrogation methods used in TV ’s The Prisoner.
These act as bizarrely effective replacements for the more archaic paraphernalia of the earlier ceremonies – although, ironically, the analogue technology lauded in the film as cutting edge is now as interestingly dated as the rituals they’re used for.
These documentaries are compelling not simply because they’re so clearly of their time, but because their themes feel unusually current again. According to a recent Pew Research Center study, the uptake in witchcraft among millennials is stark, with 1.5 million Americans now supposedly identifying as either pagan or Wiccan. It’s as if there’s a vast new audience lying in wait for a countercultural resurgence, away from the puritanical dictates of modern digital culture. If so, they could do worse than begin with these schlocky but brilliantly layered documentaries. For, as the saying goes, the devil is in the detail.
It gives them a voice and a platform to express themselves and their beliefs, which may have been marginalized or misunderstood in the past. By showcasing the depth and beauty of witchcraft on television, it helps to break down societal barriers and promote acceptance and understanding. However, it is important to note that esoteric witchcraft television stage is not limited to just promoting witchcraft as entertainment. It also serves as an educational tool, providing viewers with insights into the history, philosophy, and practices of witchcraft. This educational component helps to dispel misconceptions, foster tolerance, and promote a greater appreciation for diversity in spiritual beliefs. Overall, esoteric witchcraft television stage combines spirituality, magic, and entertainment to create a unique platform for witchcraft to be showcased, understood, and appreciated. By harnessing the power of television, it helps to demystify and normalize the practice of witchcraft, while also empowering practitioners and fostering a sense of community among viewers..
Reviews for "Esoteric Witchcraft and its Impact on Television Ratings"
- John - 1 Star - I found "Esoteric witchcraft television stage" to be dull and uninteresting. The show lacked coherence and seemed to jump from one unrelated concept to another. The host's explanations were confusing and failed to provide any real depth or understanding of the subject matter. Overall, I was disappointed and would not recommend this show to anyone looking for a meaningful exploration of esoteric witchcraft.
- Sarah - 2 Stars - As someone who has a genuine interest in esoteric witchcraft, I was excited to tune into "Esoteric witchcraft television stage." However, I was quickly disappointed. The show felt superficial and lacked any real substance. It seemed more focused on flashy production elements rather than providing in-depth discussions on the topic. The hosts also seemed to lack genuine knowledge and often gave vague and cliched explanations. I was left feeling unfulfilled and yearning for a more authentic exploration of the subject.
- Mark - 1 Star - "Esoteric witchcraft television stage" was a complete waste of time. The show seemed more interested in promoting a certain image of witchcraft rather than providing any real educational value. The hosts came across as pretentious and their discussions were shallow and lacking in substance. I wanted to learn more about the history and practice of esoteric witchcraft, but instead, I was subjected to flashy visuals and empty rhetoric. Save your time and skip this show.