Witch trials were a dark period in history characterized by mass hysteria and persecution. During these trials, individuals accused of witchcraft were brought before a court and put through an intense and often unfair legal process. While many innocent people suffered and lost their lives during these trials, some individuals took the opportunity to engage in live performances that added a macabre twist to the proceedings. **Engaging in a live set at the witch trials allowed performers to entertain the crowd while capitalizing on the fear and spectacle of the trials.** These live sets typically featured acts such as magic tricks, fire eating, and acrobatics. Performers would often dress in elaborate costumes and use props to captivate the audience.
In 1484, Dominican Inquisitor Heinrich Kramer attempted to start witchcraft trials in the Tyrol. But he was accused of illegal methods and expelled from Innsbruck. Kramer obtained from Pope Innocent VIII on 5 december 1584 a papal bull Summis Desiderantes Affectibus giving Kramer authority to persecute heretics and witches in the dioceses of Mainz, Trier, Cologne, Salsburg, and Bremen. And Kramer began writing a book on how to prosecute witches.
Jacob Sprenger s name was added as an author beginning in 1519, 33 years after the book s first publication and 24 years after Sprenger s death; but the veracity of this late addition has been questioned by many historians for various reasons. From the 16th century, England was in the grips of hysteria over witchcraft, caused in part by King James VI, who was obsessed with the dark arts and wrote a dissertation entitled Daemonologie in 1599.
Performers would often dress in elaborate costumes and use props to captivate the audience. **Despite the grim nature of the witch trials, attending a live set provided temporary relief from the fear and tension in the air.** People found solace in the distraction and entertainment provided by the performers.
The Last Witch Hunter: why modern visions of witches don’t conjure up reality
Claire Nally does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.
Partners
Northumbria University, Newcastle provides funding as a member of The Conversation UK.
The Newcastle Witch Hunt (1650), from Ralph Gardiner’s account (1655).Witches have long been an international obsession. From King James I’s book [Demonologie](http://arcticbeacon.com/books/King_James_VI-DAEMONOLOGIE(1597) (1597) and the famous Pendle witch trials in Lancaster (1612), to Shakespeare’s Macbeth (first performed 1611) and Matthew Hopkins’ The Discovery of Witches (1647), there are countless factual and fictional tales of witchcraft. The recent release of the film, The Last Witch Hunter, is yet another example of this cultural fascination.
But the colourful, fictional yarns often are far removed from the reality of witchfinders and the trials that the accused – mostly women – faced. And, in some cases, are much more a reflection of contemporary anxieties.
The 17th century witch trials staged in Newcastle upon Tyne, for example, offer a stark glimpse of the reality, complicating our received understanding of history as represented in film and fiction. The simple paradigm of the self-interested mercenary (witchfinder) in pursuit of the disenfranchised victim (witch) is rendered more complex by the social, political, gender, and economic contexts of the age.
In 1650, towards the end of the English Civil War and within memory of a 1636 outbreak of plague, Newcastle upon Tyne’s Puritan magistrates invited in an unnamed Scottish witchfinder. Known as the “bell-man”, he asked “all people that would bring in any complaint against any woman for a witch, they should be sent for and tried by the person appointed”.
There was also an implicit financial motive in his endeavours – for each successful prosecution, the Scottish witchfinder would receive 30 shillings, about ten times the average daily wage.
It was a temporary escape from the harsh reality of the trials and the uncertainty of the future. Moreover, by incorporating live sets into the witch trials, authorities sought to further demonize those accused of witchcraft. By juxtaposing the accused individuals with performers engaging in seemingly supernatural acts, the authorities reinforced the narrative that those on trial were possessed by dark forces. This deliberate manipulation of public perception added to the overall atmosphere of fear and paranoia surrounding the trials. **Engaging in a live set at the witch trials was a risky endeavor for performers.** They were not immune from suspicion themselves, and many found themselves accused of witchcraft as well. However, for those who were able to navigate this precarious situation, performing at the trials offered a chance to showcase their skills to a captive audience and gain recognition. In conclusion, live sets at the witch trials provided both entertainment and distraction during a dark and tumultuous period. **Performers seized the opportunity to engage in their craft while tapping into the fear and spectacle of the trials.** While fraught with danger, these performances gave individuals a temporary break from the realities of the trials and allowed them to momentarily escape into a world of magic and wonder..
Reviews for "Raising Hell: The Energetic Performances That Defied the Witch Trials"
1. Sarah - 2 stars
I was really excited to attend "Engage in a live set at the witch trials" as I had heard great things about the band. However, I was highly disappointed. The performance lacked energy and coherence. The lead singer was off-key numerous times, and you could barely hear the lyrics over the loud and confusing instrumentals. The setlist was also quite random with no flow between the songs. Overall, it was a disorganized and underwhelming experience that did not live up to the hype.
2. John - 1 star
Attending "Engage in a live set at the witch trials" was a complete waste of my time. The band seemed unprepared and, frankly, amateurish. The sound quality was terrible - the instruments were too loud and drowned out the vocals completely. It was impossible to engage with the music because of this imbalance. The songs themselves lacked originality and creativity, and it felt like I was listening to a poorly curated mixtape rather than a cohesive live performance. I definitely will not be attending any future shows by this band.
3. Emily - 2 stars
I had high hopes for "Engage in a live set at the witch trials" based on the band's reputation, but unfortunately, it fell short of my expectations. The performance lacked passion and showed a lack of cohesion between the band members. It felt like they were going through the motions rather than truly connecting with the audience. The setlist was also disappointing, with a lack of variety and memorable moments. Overall, it was a forgettable and uninspiring concert experience.
4. Alex - 3 stars
"Engage in a live set at the witch trials" had some potential, but ultimately, it failed to deliver. The band had decent stage presence, but their performance lacked originality and creativity. The songs all sounded too similar and blended together, making it difficult to distinguish one from another. The sound mixing was also problematic, with the vocals getting lost in the heavy instrumentals. While there were some enjoyable moments, the overall experience didn't leave a lasting impression.