Crystals and witchcraft have long been associated with each other, with many believing that crystals possess magical properties that can enhance and support various mystical practices. While there is no scientific evidence to prove the existence of these magical properties, the use of crystals in witchcraft is deeply rooted in ancient traditions and spiritual beliefs. Throughout history and across different cultures, crystals have been revered for their beauty and believed to hold special energies and vibrations. In witchcraft, crystals are often used as tools for focusing intention, connecting with the divine, and promoting healing and transformation. Different crystals are believed to have specific properties and correspondences that align with various aspects of witchcraft, such as love, protection, intuition, and manifestation. These correspondences are based on folklore, esoteric teachings, and personal experiences of individuals within the witchcraft community.
I don’t know what more there is to say, maybe I just need to step back from this genre a bit or watch a certified good series. One hilarious part which I have to mention is the magic sequences. So each guy has their episode dedicated to whatever problem they’re having so they can fall in love with Kohana. At the end they discover their magic and then they each have a song sequence…
In true shoujo fashion, which likes to use flowers and bubbles to literalize hard-to-describe emotions, turning something felt into something seen , Magic-Kyun Renaissance uses its magic to talk about art, to visualize what it s like to experience a song or a painting or a performance that resonates with us in a meaningful, sometimes deeply personal way. It s that for now that gives Magic-Kyun a lot of its charm and the feel-good quality I mentioned in my tagline, because while the series doesn t pretend there s an easy answer to Aoi s conundrum, it is endlessly optimistic that he ll find a way through it.
These correspondences are based on folklore, esoteric teachings, and personal experiences of individuals within the witchcraft community. Crystals are used in various ways in witchcraft, including wearing them as jewelry, using them in spellwork and rituals, placing them in sacred spaces, and meditating with them. Many witches believe that by harnessing the energies of crystals, they can amplify their magic and intention, as well as enhance their connection to the spiritual realm.
Magic-Kyun Renaissance and the Spark(le) of Creativity
The Magic of Art and other feel-good lessons from the best show nobody’s watching.
Magic-Kyun Renaissance is an adaptation of an otome game (basically a dating sim marketed towards girls) that follows Kohana, a second-year student transferring to the prestigious Hoshinomori School of Magical Arts. Once there, she quickly winds up on the school’s festival committee along with a bunch of cute boys specializing in various arts, from calligraphy to dancing to sculpting. Sparkles, flowers, and musical numbers ensue.
While the premise is pretty standard harem fare, it’s charmed me with its cast of likable (if not a bit one-note) art dorks, silly sense of humor and willingness to poke fun at itself, and some impressive cinematography thanks in large part to Yamazaki Mitsue’s direction and storyboards. I also find myself both fascinated and inspired by the way it uses its world of “magical arts” to address the struggles of young artists. And since no one else is talking about it, I figured now was a good time for a li’l mini-essay!
Here there be spoilers: General discussion of the first three episodes below.
As the title suggests, Magic-Kyun Renaissance is about a magic school, but the “magic” doesn’t fit the usual definitions. There are no spells to chant, no potions to brew, no fairies to bind to your will. Instead, the magic is tied entirely to each student’s artistic projects. As they practice their craft, the works they create–from dance routines to cello pieces to flower arrangements–emit their own unique “Light of Arte” (or “sparkles,” as our protagonist calls them), which takes a form that’s different for every student and sometimes for each work they create.
That may sound underwhelming for a school that studies the “magical arts,” but to Magic-Kyun, art in itself is a kind of magic, transforming the world figuratively if not always literally. The show uses its “magic” as a way to talk about the artistic process–to discuss the tangled ball of inspiration, self-expression, passion, talent, and the rickety bridge between intent and effect that comes together to create a piece of art that “shines” or “speaks to” or for both the artist and their audience.
It’s the kind of visual metaphor that has a lot of flexibility to it, and Magic-Kyun uses that to its advantage. Its characters all deal with different roadblocks in their attempts to Make Good Art, and their Light–the way it looks and who can see it–plays a huge role in conveying the frustrations and triumphs behind those struggles. Along the way, it also paints a tentative picture of what successful artistry looks like, and encourages aspiring artists at home to overcome their roadblocks, too.
To give you a better idea of what I mean, let’s spend some time with two characters and their work: Kohana and Aoi. Our protagonist Kohana gets accepted into Hoshinomori as a transfer student largely because her mother was a famous alumni. Kohana greatly admired her mother’s flower arrangements and wants to follow in her footsteps. She uses photos of her mom’s work as reference, making replicas that are technically sound but have never produced the Light of Arte. They’re beautiful, but lifeless.
It’s natural to start off by mimicking an admired artist–copying their drawing or writing or singing style–and it can be valuable practice in terms of technical skills or to give you an idea of the general kind of work you want to create. But a copy is, in the end, just a copy. Eventually you have to find your own inspiration, infuse your art with your own voice, if you want it to truly shine. Once Kohana does, she’s able to produce a Light that’s unique from her mother’s and just as powerful.
Kohana makes for a good starting point because her conflict is a straightforward, typical problem for beginners, and her ability to create competent flower arrangements but not the Light of Arte give us a solid idea of how the magic in this world works. That opens the door for more complicated stories, such as that of the talented but awkward calligrapher (and Best Boy of the Season contender): Aoi.
Kohana admires Aoi’s work, which produces tiny balls of Light that vary in spikiness, but Aoi himself can’t see them. And, to his horror, when Kohana describes his Light to him–when she gives him her impression of his work–he realizes he’s moving away from the kind of work he wants to produce. It’s a pitch-perfect representation of the nightmare that is artist’s block, of desperately wanting to say something but not quite knowing what it is or how to go about doing it. There’s talent, passion, and personality in Aoi’s work–Kohana wouldn’t be able to see the Light if there wasn’t–but it’s not conveying what Aoi needs it to convey. And so he’s lost for now.
It’s that “for now” that gives Magic-Kyun a lot of its charm and the “feel-good” quality I mentioned in my tagline, because while the series doesn’t pretend there’s an easy answer to Aoi’s conundrum, it is endlessly optimistic that he’ll find a way through it. Kohana certainly helps, as her support encourages him, and her impressions of his work give him an idea of the direction he’s going in terms of what he’s conveying. Art doesn’t exist in a vacuum, and so it can be helpful to find out if the intent of the work is matching up with the effect it’s having on others.
Most importantly, though, Aoi and Kohana keep working. They make art, and they fail or succeed, and then they learn from it and make something else. Magic-Kyun knows there’s no quick fix, no single, perfect answer to what produces that “Light of Arte,” making a work shine for the artist or their audience or (hopefully) both. But we’ll know it when we find it, and the only way to find it is to keep looking.
In true shoujo fashion, which likes to use flowers and bubbles to literalize hard-to-describe emotions, turning something felt into something seen, Magic-Kyun Renaissance uses its “magic” to talk about art, to visualize what it’s like to experience a song or a painting or a performance that resonates with us in a meaningful, sometimes deeply personal way. It also has a sharp understanding of the artistic process, acknowledging pitfalls and difficulties while always cheering on its aspiring artists.
That “you can do it!” attitude is downright contagious, leaking out of the series and into the audience. It’s made me want to return to some of my own creative projects, something I was starting to think I’d abandoned altogether. This otome game adaptation may not have the confidence of Yuri on Ice or the ambition of Flip Flappers, but there’s a sparkle here all the same, and I heartily recommend giving it a try. Who knows? Maybe it’ll fill you with determination, too.
Heard you wanted some boys ^w^
The colors and shapes of crystals are often associated with different elements, deities, and energies, and are carefully chosen to align with specific mystical purposes. While some may view the use of crystals in witchcraft as mere superstition or New Age fad, for practitioners of the craft, they hold deep symbolic and spiritual significance. The belief in the power of crystals is not exclusive to witchcraft, as crystals have been used in various spiritual and healing practices throughout history. It is important to note that the use of crystals in witchcraft is a personal choice and not a requirement for practicing witchcraft. There are many other tools and methods that can be used in magic, and each witch may have their own preferred tools and practices. In conclusion, while there is no scientific correlation between crystals and witchcraft, the use of crystals in mystical practices is deeply rooted in ancient traditions and spiritual beliefs. The belief in the magical properties of crystals is a personal and subjective experience, with the power and significance of crystals varying from individual to individual. Whether one believes in the magical properties of crystals or not, their use in witchcraft serves as a powerful tool for focusing intention, connecting with the spiritual realm, and promoting healing and transformation..
Reviews for "Crystal Associations in Witchcraft: Matching Stones to Deities"
1. Jessica - 1/5 stars - I found "Is there a correlation between crystals and witchcraft" to be a complete waste of time. The author tried to present a scientific approach, but it fell flat. The arguments were weak and lacked any credible evidence. The topic itself seemed like a reach, and I felt like I was reading a poorly researched conspiracy theory. Overall, I wouldn't recommend this book to anyone looking for a legitimate analysis on the subject.
2. Mark - 2/5 stars - As someone interested in both science and spirituality, I was disappointed by "Is there a correlation between crystals and witchcraft." The book attempts to debunk the connection between crystals and witchcraft, but it fails to provide any substantial evidence or logical explanations. Instead, it relies on dismissive language and shallow interpretations. While the book does touch upon some interesting studies, it fails to deliver a well-rounded analysis. I was hoping for a more balanced and informative read, but unfortunately, this book didn't meet my expectations.
3. Sarah - 1/5 stars - "Is there a correlation between crystals and witchcraft" is nothing but pseudoscience disguised as a serious inquiry. The author completely ignores the vast amount of historical and cultural evidence that supports the use of crystals in various spiritual practices. The book lacks credibility and only perpetuates skepticism without providing any meaningful insights. I wouldn't waste my time or money on this poorly researched and biased piece of work.