How To Have Artists Related Story-telling To Witches And Resistance

HOW TO HAVE ARTISTS RELATED STORY-TELLING TO WITCHES AND RESISTANCE
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Introduction
Story-telling is one of the most profound forms of literary arts, having its roots in time immemorial. As true for any other genre, story-telling has also evolved over a period of time. Inspired by traditions and norms specific to each phase of history through which it passed, the art borrowed new concepts, ideas, and practices. A deep dive into the historical context suggests that artists were compelled to connect story-telling to witches and resistance as a way to exert their deviation and revolt against the norms as well as a way to offer an outlet to their inner conflicts. The essay revolves around this argument to explore as to what drew artists to the world of supernatural forces and how it was perceived in different time periods.[Christine Willison, An Introduction to Storytelling (NY2018), 25] [Meretoja, Ethics of Storytelling, 55]
Background of Story-telling as a Source of Self-Expression
Before jumping to a deeper exploration into the interaction between story-telling, witchcraft, and feminism, it is important to consider what lies at the foundation of these associations. In every age, story-telling has been a source of giving voice to one’s feelings or ideas. The artists may give themselves an expression by using their mouthpieces in their stories. At the same time, the moral lessons to be gleaned from a story also speak for the innermost beliefs held by the authors i.e. what they consider to be true in a given set of circumstances and whatnot. In this way, the artists may take pleasure into telling stories as these stories allow them to bring their ideas into notice and get their points across.[Willison, Storytelling, 83]
While speaking about self-expression, it is unwise to focus solely on expressible components of personality. The artists may have lava of revolt burning within them that has no safe outlet. If they ‘erupt’ or give expression to their feelings, which may be considered non-conforming to their norms or traditions, they may have to live with the labels of deviants or other abhorrent titles. In other words, people have to adjust to their surroundings in order to establish their social identity in line with their culture and values that are perceived to be unchallenged in their society. If their society is eager to preserve those values, any attempt from a deviant person to open up may bring about their devastation.[Hanna Meretoja, The Ethics of Storytelling: Narrative Hermeneutics, History, and the Possible (New York, NY: Oxford University Press, 2017), 122]
However, there is a safer outlet for their revolting and perceivably subnormal viewpoints known as ‘story-telling’. Storytelling allows them to unleash their mind and let it wander to discover the elements that are missing in their imperfect surroundings, to give them a sense of completion. They may take solace in portraying a world, which may not align to their traditions, but still dodges the critics for its being the product of a work of literature. In this way, the artists can alternatively think up a way to present themselves as what they are with least fear of any backlash.[Willison, short title, 40]
In Granma’s story, Tao-te-ching focuses on this aspect of story-telling. The writer is amused and fascinated by the power of story as a “vehicle of truth”. According to him, the story offers a glimpse into personalities and human behaviours and unfolds different perspectives quite vividly. The author emphasizes that story-telling exists in its refined forms in every age regardless of all constraints. The artist has shined a spotlight on the factors in which the power of storytelling lies. It is clear that storytelling is much more than just a source of joy and amusement.[Thi M. Trinh, Woman, Native, Other: Writing Postcoloniality and Feminism (Washington, NY: Georgetown University Press, 1989), 22.]
The discussion shows that storytelling has always been a mirror to reflect oneself and showcase the hidden features of one’s personality to others. This idea forms the basis for further illustration which requires a deeper dive into this art. These ideas will help in building understanding about the interaction between storytelling, witches, and feminism.
Story-telling and Magic
It is hard to trace the origin of the interface between witchcraft and storytelling. Artists, in every traceable period of time, have always been fascinated by the concept of supernatural. Witches or magic allowed a much wider scope for their creativity. The artists could easily use supernatural figures to create stunning and engaging impressions. At the same time, these figures can also be used as an amusing source of conveying a profound message or a moral lesson to an audience. A trawl through the history shows that literature of story-telling abounds with innumerable types of virtuous or wicked spirits, apportions, and other supernatural creature. Therefore, it is evident that magic has been a frequently adopted subject matter for story-tellers in every particular age.[Nadia Van der Westhuizen, "Unbecoming Female Monsters: Witches, Vampires, and Virgins," Folklore 130, no. 1 (2019): 104] [Willison, Storytelling, 45]
It is important to refer to the examples from medieval age (i.e. middle-ages). During that time period, religion and romance had a dominant influence over the lives of people. People subscribed to a wide range of ideas confirming the existence of supernatural objects. Therefore, the traditions and faith pattern in that age allowed the authors to legitimately use supernatural machinery in their literary work. They could better connect to the audience by taking support from angles, witches, fairies, or any other type of unworldly creature to express their thoughts.[Willison, Storytelling, 89]
Here, it is important to refer to the story by Andrew Joynes from middle ages that was later translated by EG Gardner in 1911, titled as “The Bath Keeper. The story features two persons including a priest and a person who appears to priest each time he takes a bath to offer his assistance in dressing and taking off and on priest’s shoes. The priest assumes that he would one day demand his commission for the services being offered but finds that he was simply an apparition of a bath keeper and wanted the priest to intercede for him in the afterlife so the God may forgive him for his sins (History Extra, 2019). The story gives a true insight as to what storytelling involved during middle ages. The discovery of being in interaction with an apparition fails to scare the priest because it is nothing out of ordinary for him. It seems to be a regular experience and observation.[History Exttra,"3 Curious Medieval Ghost Stories," HistoryExtra, last modified October 30, 2018, /period/medieval/3-curious-medieval-ghost-stories/.]
Certainly, all forms of classical literature in middle ages involve frequent references to supernatural creatures. There are angles, witches, black magicians, fairies, ghosts, and revenants. Majority of themes revolve around supernatural creatures.[Brandes, Fictional Storytelling in the Medieval Eastern Mediterranean and Beyond (Leiden, NY: BRILL, 2016), 145.]
Here, it is important to note that classical literature during renaissance also revolves around the themes of fear, vengeful ghosts, souls, and other scary creature but there is a subtle difference between the literature that was created during middle ages and afterwards. As the history of mankind stepped past medieval times, artists drew a line between natural and supernatural. In other words, anything paranormal was supposed to carry the elements of surprise and fear. It was something extraordinary and a rare happening rather than being embedded into a culture unlike stories created in middle-ages. This implies that the art of story-telling took a major turn with the change of time.[Pam Grossman, Waking the Witch: Reflections on Women, Magic, and Power (NY: Gallery Books, 2019), 18.]
However, the literature created during the classical age past renaissance also has frequent references to supernatural elements. Artists, during that age, have strongly been under the influence of the power of hidden forces and have used them as a means of heightening the effectiveness of their works. For example, John Milton has told the story of Adam and Eve in his world-famous book “Paradise Lost” published in 1674 in the form of an epic. The poet has built the theme of his story around godly creatures such as angles, God, and Satan. The story also alludes to historical figures, such as serpent and forbidden tree. The duel between God and Satan is ...