According to Michael Howard, Trad Craft refers to “any non-Gardnerian, non-Alexandrian, non-Wiccan or pre-modern form of the Craft, especially if it has been inspired by historical forms of witchcraft and folk magic”.
Traditional Witchcraft, therefore, is not a single monolith. We can, in fact, distinguish between:
Operative Witchcraft or Folk Magic
Ritual(istic) Witchcraft
This first difference is taken from Margaret Murray; she used the first term for indicating the practice of magic, as carried out by cunning folk and folk magicians, and included the non-religious practice of spells, charms, divinations, etc. “whether used by a professed witch or by a professed Christian, whether intended for good or for evil, for killing or for curing. Such charms and spells are common to every nation and country, and are practised by the priests and people of every religion. They are part of the common heritage of the human race and are therefore of no practical value in the study of any one particular cult. ” (The Witch-Cult, p. 11.)
The second term (also called “Dianic cult” by Murray) indicates, instead, “the religious beliefs and ritual of the people, known in late mediaeval times as ‘Witches’. The evidence proves that underlying the Christian religion was a cult practised by many classes of the community, chiefly, however, by the more ignorant or those in the less thickly inhabited parts of the country. It can be traced back to pre-Christian times”. Therefore we can say that Ritual Witchcraft is the cult of pre-Christian Deities or Spirits connected to the witches.
While the ideas of Murray about this cult have now been discredited, other scholars have reopened this field as a viable area of study, discovering many ecstatic witch-cults. The most known academics in this field are: Carlo Ginzburg, Éva Pócs, Emma Wilby, Claude Lecouteux, Wolfgang Behringer, Sabina Magliocco, Gábor Klaniczay, Gustav Henningsen and Bengt Ankarloo.
Relying on the work of these scholars, we can say therefore that Ritual Witchcraft was/is the religious system surrounding the Sabbath, the Procession of the Dominae Nocturnae from house to house, the spiritual flight, Elphame, the Wild Hunt, the Night Battles, etc.
As we can understand, even if the majority of the Ritual Witches were/are also Operative Witches (practitioners of Folk Magic), not all the Operative Witches were/are also Ritual Witches. The majority of Folk Magicians/Operative Witches, in fact, didn’t go to the Sabbath, didn’t astrally fly, didn’t astrally go with the Wild Hunt, from house to house with the Domina Nocturna, to Elphame/the Otherworld or to the Night Battles. Ritual Witches did.
We can say, therefore, that Operative Witchcraft is a practice, while Ritual Witchcraft is a religion.
Traditional Witches who are secular are, therefore, usually Operative and not Ritual Witches.
A second distinction, inside Ritual Witchcraft (i.e. Witchcraft as a religion) is:
Hereditary Witchcraft
Revivalist Witchcraft
Reconstructionist Witchcraft
Hereditary Traditional Witchcraft brings together all the traditions that claim to directly derive from the era of Historical Witchcraft, having been handed down without interruption. Among these we remember Cochrane’s Craft and The Clan of Tubal-Cain, Raven Grimassi’s Arician Tradition, Cultus Sabbati, and many others.
Revivalist Traditional Witchcraft is inspired by folklore, trials and the figure of the witch without any presumption of hereditarity. Unlike the Reconstructionist one, it leaves ample space for personal initiative and the influence of other traditions, without slavishly following the history in every single detail. Some of the most known authors of Revivalist TradCraft are: Gemma Gary, Nigel Pearson, Nigel Jackson, Paul Huson, Robin Artisson, Sarah Ann Lawless, Peter Paddon, Peter Gray and many others.
Reconstructionist Traditional Witchcraft, finally, tries to resume, starting from the in-depth study of folklore, historical trials and documents, the exact practices and beliefs of Historical Witchcraft. For example, the pantheon of Spirits, the festivities, the structure of the Sabbath, the structure of the offerings, and so on. An important aspect for those who practice Reconstructionism is the resumption of the names of the Gods (or it would be more correct to say, of the “Deific Familiar Spirits” or “Major Spirits”) forgotten and remained only in the trials papers and in folklore. The idea is to reopen roads, ways to these Spirits. Reconstructing therefore means paying homage to these Spirits and allowing those interested to re-establish a connection with Them. The most useful book to start Reconstructionist Traditional Witchcraft is Lee Morgan’s “A Deed Without a Name: Unearthing the Legacy of Traditional Witchcraft”.
We said before that Traditional Witchcraft is not Wicca. What’s the difference?
According to the Traditional Witchcraft author Lee Morgan:
“It could easily be said that one of the major differences between the modern revival referred to as “Traditional Witchcraft” and the other modern revival known as “Wicca”, is that Traditional Witchcraft draws on “folkloric material” and is largely “shamanic” whereas Wicca is more of a fusion of Western Occult ceremonial and natural magic traditions.”
(From: Lee Morgan’s “A Deed Without a Name: Unearthing the Legacy of Traditional Witchcraft”)
“Everybody has a little bit of the sun and moon in them. Everybody has a little bit of man, woman, and animal in them. Darks and lights in them. Everyone is part of a connected cosmic system. Part earth and sea, wind and fire, with some salt and dust swimming in them. We have a universe within ourselves that mimics the universe outside. None of us are just black or white, or never wrong and always right. No one. No one exists without polarities. Everybody has good and bad forces working with them, against them, and within them.
The weekly challenge this time was that it had to be related to any ideology, so I chose Satanism because spooky goat people are about my speed. Tried to go for a Mignola-esque style.
MY ART, INSPIRED BY BORIS VALLEJO, DONE IN MY OWN WEIRD STYLE.
I POSTED AN EARLY VERSION OF THIS ON MY NOW DELETED FIRST BLOG LAST YEAR. THIS IS A NEW TRANSFORMATION OF TO MEGA THERION.
ALEISTER CROWLEY TAUGHT ME TO TRY OUT NEW THINGS TO EXPLORE, TO GROW AND NOT TO BE AFRAID OF CHANGE. MY ORIGINAL ART IS MAYBE NOT COMMERCIAL ENOUGH TO MAKE A LOT OF MONEY, BUT IT’S ALWAYS REWARDING IN A SPIRITUAL WAY. THANK YOU GREAT BEAST.