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WitchTok: the rise of the occult on social media has eerie parallels with the 16th century

Rebekah King 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.

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University of Cambridge provides funding as a member of The Conversation UK.

It’s 1.30am in the morning, and I’m about to watch a duel between magicians. One is a “demonolater”, a word I have never heard before, someone who claims they worship demons and can petition them in return for knowledge or power. The other describes themselves as a “Solomonic magician”, and claims to be able to command demons to do his bidding, as some Jewish and Islamic traditions have believed of King Solomon, who ruled Israel in the 10th century BC.

I first discovered this debate because, in the course of studying 16th century books of magic attributed to Solomon, I had found, to my astonishment, that “Solomonic magic” is still alive and well today, and growing in popularity. Twitter had suggested to me that I might be interested in an account called “Solomonic magic”, and a few clicks later I had found myself immersed in a vast online community of young occultists, tweeting and retweeting the latest theories and controversies, and using TikTok to share their craft.

To my further bemusement, it seemed that the tradition of Solomonic magic had recently faced accusations that its strict and authoritative approach to the command of demons amounted to a form of abuse, akin to domestic violence. As I had made a note in my diary of a public debate that I wanted to attend out of sheer curiosity, it seemed astonishing to be asking myself whether Solomonic magic, the same found in books of necromancy dating back hundreds of years, was on the brink of cancellation in 2021.

At 28, I’m slightly too old to be familiar with the platform Twitch, mostly used for live video streaming, but tonight I’ve managed to get it working for this particular debate. As an atheist, I’m very likely in the minority, though I’m not the only Brit to have turned up in spite of it being such an ungodly hour this side of the pond. The chat box is buzzing as occultists of various stripes arrive to hear the arguments.

My mum would hate this, I can’t help thinking to myself. She didn’t even let me read Harry Potter.

When people ask me what I do, it’s always fun to tell them, “I study magic at Cambridge University.” It’s technically true. I’m researching the representation of magic on the early modern stage, and am interested in the ways in which dangerous, forbidden or “occult” knowledge was theorised by Shakespeare and his contemporaries. My research combines my fascination with the mechanisms of belief with my love of storytelling and the stage. When I’m not researching plays, I’m writing them: I’m an award-winning playwright, whose work has been performed across the UK and abroad.

British painter George Romney was only one of many artists whose imagination was inspired by the three witches in Shakespeare’s Macbeth. Wikimedia Commons, CC BY

Suspending disbelief is my forte, but actually believing is something I’ve never been very good at. The history of magic fascinates me because it is a history of people – of human faults and foibles, vanities, hopes and needs – rather than because of any genuine investment in the esoteric. This is why I’m here to listen to articulate and likeable young people across the globe discussing theories of knowledge and the supernatural – beliefs to which I myself cannot subscribe.

Even more astonishingly, these Generation Z occultists, with their substantial followings on Twitter and TikTok, are about to debate a form of magic that lies at the heart of my research into Shakespeare’s England.

This story is part of Conversation Insights
The Insights team generates long-form journalism and is working with academics from different backgrounds who have been engaged in projects to tackle societal and scientific challenges.

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