There once was a witch who possessed the dark arts. Her name was Morgana, and she was feared by all who knew her. From a young age, Morgana showed signs of being gifted with dark magic. She could cast spells with ease, summon spirits, and harness the powers of the elements to do her bidding. Her powers were unrivaled, and she quickly became one of the most powerful witches in the land. But Morgana's talents came at a price.
The Witch is introduced. Her many talents on display to help others on their spiritual journey to self healing
Even Sarah Mower, the Vogue critic who joined McQueen on his research trip, complained the audience was confronted with a distracting,overwrought show that only succeeded in ramming home the realization that the theatrics and stadium-sized presentations of the nineties are or rather should be a thing of the past. To this day, historians disagree on what caused the shortness of breath, convulsions, fainting spells, and rigid limbs experienced by a handful of young girls in the bitterly cold winter of 1692.
But Morgana's talents came at a price. She was consumed by her desire for power and control. She would stop at nothing to achieve her goals, even if it meant causing harm to others.
DARK ARTS
Image: Details from Thomas Satterwhite Noble (1835-1907). Witch Hill (The Salem Martyr), 1869. Courtesy of New-York Historical Society. Text: Keren Ben-Horin What would you do if you found out one of your ancestors was persecuted and hung as a witch? To the late designer Alexander McQueen, the answer was obvious: he jumped on a plane across the ocean to Salem, Massachusetts, where his ancestor’s life had ended. In 2006, McQueen’s mother disclosed that their lineage could be traced back to a woman named Elizabeth How, who, in 1692, was falsely accused in the infamous Salem witch trials. A few months later, alongside his then assistant Sarah Burton, and the Vogue critic Sarah Mower, McQueen travelled to Salem to glean, from local historians and institutions, the details of his ancestor’s role in the witch panic that swept seventeenth century New England. McQueen was in luck, because How’s record is unusually complete: from the first time she appears on record— on May 31, 1692 —through her execution by hanging three months later, to the posthumous exoneration given to her daughters nineteen years after her death. McQueen processed this new knowledge in the only way he knew how, transforming his archival discoveries into a ready-to-wear collection: In Memory of Elizabeth How, Salem 1692. While How’s daughters had fought for two decades to clear her name, McQueen leaned into the symbols and imagery of witchcraft and the occult to reclaim her honour. Image credit: Glenn Castellano, New-York Historical Society Now, the Center for Women's History at the New-York Historical is mounting an exhibition that shines a light on this collection and the events that led to How’s execution. Originally organized by the Peabody Essex Museum in Salem, MA, The Salem Witch Trials: Reckoning and Reclaiming features original objects from individuals impacted by the witch trials of 1692, new objects from the collection of the New-York Historical Society, and materials from two ‘reclamation’ projects by contemporary artists who are Salem descendants: that of Alexander McQueen; and a photographic exploration of present-day practitioners of witchcraft by Frances F. Denny. Image: Francis F. Denny. Shine (New York, New York). 2017. From Major Arcana: Portraits of Witches in America series. Courtesy of the artist and ClampArt, New York. To this day, historians disagree on what caused the shortness of breath, convulsions, fainting spells, and rigid limbs experienced by a handful of young girls in the bitterly cold winter of 1692. In the pious, Puritan community, suspicions soon turned to witchcraft. The ensuing accusations quickly spun the community and its neighbouring towns into complete chaos. In less than a year, 170 people would be accused of witchcraft, nineteen would be executed, one man would be pressed to death, and five others would perish in jail. Elizabeth How lived on a farm in Ipswich, just outside of Salem, with her weaver husband and their six children. Records suggest they were respected members of their community. However, a decade-long dispute with neighbours was about to catch up with Elizabeth. Before long, other neighbours came forward, interpreting ‘odd’ farm animal behaviours as clear evidence of witchcraft. Even her own brother-in-law, Captain John How, went on record against her, recounting a story about a pig who “leaped up three or four feet high . . . turned . . . gave one squeak and fell down dead.” When the Captain tried to cut the pig’s ear, his hand went “numb and full of pain,”— a sure sign, in his mind, that his sister-in-law was, indeed, a witch. Image: Record of the examination of Elizabeth How, May 31, 1692. Reproduction. Phillips Library, on deposit from the Massachusetts Supreme Judicial Court Archives. Elizabeth How was brought to investigation. The preliminary examination was meant to determine whether the accusations had enough merit to go before a grand jury. In Elizabeth’s case, the record notes that several accusers suffered fits, pinching, and pricking in her presence, but miraculously became well when she touched them. How unequivocally states her ignorance of witchcraft, but to no avail. Most of those who refused to admit guilt found themselves with a rope around their necks shortly thereafter. Even after 330 years, this violent and irrational moment in American history captures the mind. So how should McQueen salvage the honour of his ancestor, who was so cruelly victimised? How could he memorialise her life? Image credit: Glenn Castellano, New-York Historical Society McQueen, who was always attracted to macabre and dark topics, met this challenge head-on. His collection travels across time and place— ancient Egypt, Puritan New England, Victorian England —and incorporates paganism, the occult, and esoteric symbols. Many of the signature elements of his design vocabulary are evident: bold shoulders, high necklines, strong and structured silhouettes, leather and metal bodices, and over-sized jewellery designed by his long-time collaborator, Shaun Leane. In March 2007, the collection was revealed at a Parisian sports arena. A monumental, blood-red pentagram was painted on a black floor. Mirror-image film footage of locusts, skulls, and other fantastic scenes were projected onto an inverted pyramid that hung above the models, who walked the lines of the pentagram, as if spellbound. Unfortunately, the show was met with disappointment. Most of the excited audience packing the arena could hardly see the clothes on the huge, dark stage. Even Sarah Mower, the Vogue critic who joined McQueen on his research trip, complained: “the audience was confronted with a distracting,overwrought show that only succeeded in ramming home the realization that the theatrics and stadium-sized presentations of the nineties are— or rather should be —a thing of the past.” Image credit: Glenn Castellano, New-York Historical Society That’s a terrible shame because, on close inspection, the garments are no less dramatic than the runway show itself. A dress on display in the gallery is embroidered with glass beads that shimmer like a night sky. On the runway, it was worn with McQueen’s Star Headpiece, a companion to the Moon Headpiece. Both are symbols appearing in the Major Arcana, the twenty-two central cards in a tarot deck. The moon is also associated with the pagan goddess Diana, a figure that appears in sixteenth and seventeenth century imagery, representing witches. Image: Star Headpiece. Alexander McQueen. T he Museum of Savage Beauty collection , courtesy of the V&A, London. Image: Crescent Moon Headpiece. Alexander McQueen. The Museum of Savage Beauty collection , courtesy of the V&A, London. Several of Salem’s accused confessed that the devil appeared to them in the form of a bird. To one, Tituba, it was a bright yellow bird. In response, McQueen offers a stunning handbag, decorated with a single, silver, bird claw. Image: Bag with bird claw. Alexander McQueen. The Museum of Savage Beauty collection , courtesy of the V&A, London. Over the three centuries since the tragic trials, descendants of its victims have continued to grapple with the injustices suffered by their ancestors. McQueen couldn’t change this brutally violent history, but he could make something utterly beautiful to celebrate the life of Elizabeth How. The Salem Witch Trials: Reckoning and Reclaiming runs from 7 October, 2022 – 22 January 22, 2023. Keren Ben-Horin is a Curatorial Scholar in Women’s History at the New-York Historical Society.
Some say she made deals with demons in exchange for her powers, while others believe she was born with an innate darkness within her soul. Whatever the truth may be, one thing is certain – Morgana was not to be trifled with. As Morgana grew older, her lust for power only intensified. She would spend hours studying ancient texts and performing rituals to strengthen her abilities. Her quest for dominance knew no bounds, and she would often resort to dark and forbidden practices to achieve her objectives. Many brave souls tried to stop Morgana, but none could match her powers. She could bend the elements to her will, summon demons to fight on her behalf, and cast spells that would render her enemies helpless. Those who opposed her would often meet a grim fate, their bodies drained of life and their spirits trapped in eternal torment. Morgana's reign of terror lasted for many years until a group of brave warriors decided to take a stand against her. They knew that defeating Morgana would not be easy, but they were determined to rid the land of her evil once and for all. With weapons forged from ancient runes and armor blessed by the heavens, they set out on their quest to confront Morgana. The battle that ensued was one of epic proportions. The warriors fought with all their strength, but Morgana's powers were overwhelming. She laughed as she watched them struggle, taunting them with her words and casting spells that would weaken their resolve. But the warriors did not give up. They fought with courage and determination, refusing to back down in the face of darkness. And in a moment of sheer bravery, one of the warriors managed to land a blow that weakened Morgana's defenses. Sensing her vulnerability, the others joined in, attacking with all their might. In the end, Morgana was defeated. Her powers were stripped away, leaving her weak and defenseless. The warriors had succeeded in their mission, but they knew their work was not yet finished. They vowed to protect the land from any who sought to abuse the dark arts, ensuring that Morgana's reign would never be repeated. And so, the witch with the dark arts was vanquished, her powers a distant memory. But her legacy lived on, a reminder that even the strongest of forces can be overcome with courage and unity..
Reviews for "The Witch with Dark Arts: Changing the Course of Destiny"
1. Sarah - 2/5 - "I was really excited to read 'The Witch with the Dark Arts' as I love witchcraft and dark magic, but unfortunately, this book didn't live up to my expectations. The plot was predictable and lacked originality. The characters were one-dimensional, and I couldn't connect with any of them. The writing style was also dull and lacked depth. Overall, I was disappointed with this book and wouldn't recommend it to fellow witchcraft enthusiasts."
2. John - 3/5 - "I picked up 'The Witch with the Dark Arts' hoping for a thrilling and suspenseful read, but it fell short of my expectations. While the concept of a witch with dark arts had potential, the execution was lacking. The pacing was uneven, with moments of boredom followed by rushed and unresolved plot points. The characters were underdeveloped, and their motivations felt weak. The writing itself was average, but it didn't bring anything new or exciting to the genre. It's an okay read if you're looking for something light, but don't expect it to leave a lasting impression."
3. Emma - 2/5 - "I was extremely disappointed with 'The Witch with the Dark Arts'. The story was slow-paced and lacked any real excitement or tension. The characters were forgettable and lacked depth, making it hard for me to invest in their journey. The magic system was poorly explained, leaving me confused about the rules and limitations. The dialogue also felt forced and unrealistic. Overall, this book failed to engage me and was a letdown in terms of storytelling and execution."
4. Michael - 2/5 - "I was expecting a dark and thrilling witchy tale, but 'The Witch with the Dark Arts' missed the mark for me. The plot was predictable and lacked any real surprises. The characters were flat and lacked development, making it hard to care about their fates. The writing style was also subpar, with clunky sentences and awkward descriptions. Overall, this book didn't live up to its potential and left me feeling unsatisfied as a reader. I wouldn't recommend it to anyone looking for an engaging witchcraft story."