Mixon believes that climate changes were predetermined by the emergence of witchcraft, as people could find not another explanation Mixon Hence, Boyer et al.
In his book, Salem possessed: the social origins of witchcraft, he describes in detail the outbreak of strange phenomenon that captured the Salem Town where young girls were suffering from strange fits. The girls were imprisoned without being trialed the people were not aware of the actual reason of deviations Boyer 6.
The authors tried to investigate social and economic distinctions within the Salem Town community and to comprehend the accusations of witchcraft in The contradictions between the Putnam and Porter families fostered the communal fight that hide the religion intensions and forces that trigger the cruel ideology in terms of gender discrimination. Boyer and Nissenbaum believed that social division of Salem Town and Salem village served as the major reason for the contentious situation within the village.
The agricultural traditions and activities of Putnam family strived to separated from the commercial town of Salem whereas other dynasty intended to establish trade contacts with the town.
According to the author, the emerged conflict aggravated the events of The appearance of witchcraft was caused by the existing confrontation so that the book proves that these two phenomena are closely connected. Thus, the author uses the religion as the basis for consideration of Salem executions and trials.
As Salem residence are mere peasant, they were subjected to the rules of the Church with patriarchal system. Under their influence, the villagers were imposed by the clerical ideology that women are already sinful creature so that they likely to be captured by the Devil.
Such point could be deduced from the title of the book. The author is confident that the main ground for the anomalous situation was not due to the continuous debates between two families. Instead, the book proposes during the second was the Indians caused suffering to their neighbors by tempting them to Satan causes.
In that regard, witchcraft encouraged the understanding of the ambiguous challenges of hideous manifestation. The duality of the situation is emphasized by the parallel stories of witchcraft institution and war so that this interrelationship made Salem story unprecedented.
The author used the descriptive approach thus analyzing the parallel historical events. The witch trials ended in January , and the last of those arrested were released in the spring of the following year. The Salem Witch Trials resulted in the executions of 20 people and became one of the most infamous trials in history. A general amnesty was granted in for most of those convicted in the Salem witch trials.
In , Ann Pudeator, who was hanged as a witch, was declared innocent. On November 5, , the Governor of Massachusetts signed the declaration of innocence for the final five women. Your email address will not be published. Witchcraft at Salem Village, engraving The deposition of Abigail Williams v. George Jacobs, Sr. Related Posts. Dinah : While researching that series, Denny dove into her family tree and discovered that her 10th great grandfather was one of the judges in the Salem Witch Trials.
Frances : His name was Samuel Sewall. And, coincidentally, I also found on that family tree that my eighth great grandmother, a woman named Mary Bliss Parsons was accused of witchcraft. Now, this would have been about 20 years prior to the Salem trials and in Northampton, Massachusetts. It felt strange to be related to and descended from both the kind of oppressor figure, you know. But, all the same, that coincidence stuck with me. I couldn't resolve it for myself.
Dinah : While at PEM for the opening of the exhibition, Frances visited the oil painting of her ancestor Samuel Sewall, condemning judge in the Salem witch trials. Frances : He has a round face and a dimpled chin. I wonder what he would think of the fact that his descendent is not only celebrating people who do identity as witches, but who has a kinship with them.
Looking at this portrait, I personally feel very angry and confused. Frances : He was one of the judges that put people to death. But I do think he was one of the only to express any contribution about what happened.
But he was kind of progressive for his time. He was an early abolitionist. But it takes a lot more integrity to do the right thing in the moment then to say you're sorry later on. Dinah : Frances spent three years interviewing 75 modern day witches across the US.
She sought to discover what witchery -- re envisioned with agency and power -- looks like today. Frances : But the more I looked into this, this idea of the witches, kind of a primordial, female archetype, the more I realized, you know, this is a word that is powerful. It has shape shifted through the centuries and there are new meanings.
So I started on hunches that I had about people that I knew and contacted a few small handful of people that I knew who I suspected would sort of understand what I was after with this project and they agreed to be photographed within the context of it. And then once I had about 10 or 12 people that I had photographed, I had people introducing me to their entire cousins.
I had people emailing lots of other friends across the country about putting me in touch. I needed to have a real diversity in terms of geography, and age, and ethnicity, and body type and, um, and place that I photograph them.
Frances : When we are photographed, we put on a mask. We put on the way that we want to be seen or the way that we think we should be seen. It's a persona. So, I feel like my task, the onus is on me to help people take that mask off in front of my camera. So, I do that very gently. Lydia : This book includes over 70 portraits. We have 13 exhibited in the exhibition. This is a portrait of Shine from New York. This portrait is incredibly commanding. Lydia : And what we see here is a woman of color, posing in this incredible and golden embroidered black velvet jacket with these incredible necklaces made of crystals and silver and her rings, her fingers are adorned with these incredible, chunky jewel rings and the backdrop is complete nature.
So she's sort of framed in sort of this beautiful, lush landscape. Shine as a subject is incredibly self possessed.
She's staring right at the camera, so, right at the viewer, she's meeting the viewer's gaze. Dinah : The portrait sitter is Shine Blackhawk. We asked her to read part of her essay that is exhibited in the gallery next to her portrait. Shine : My brand of witchcraft is my own: a wild, eclectic brew of hoodoo Black Native American folk spirituality and shamanism. I am a solitary witch and the woods are my church.
I pray in nature and use the elements to heighten my rituals and ceremonies. I use tools such as drums, rattles, animal bones, feathers, crystals, and sigils, and I channel animal spirits, spirit guides and ancestors. Lydia : I'm looking at Debbie from Louisiana seen here in her scrubs. She is a surgical coordinator, but she's also the High Priestess of a Wiccan Church.
Debra : My paying job is as a surgical coordinator for the local organ procurement agency. For the past seventeen years, I have helped facilitate the surgical recovery of human organs for transplant.
Proctor, Photo by Jeffrey R. The team also developed a new focus on documents and objects associated with a few community members who defended those accused of witchcraft. These brave individuals, at great risk to themselves, spoke in defense of the people accused of witchcraft and testified to their innocence in court.
Each of these rare historic objects were carefully installed by preparator Mollie Denhard and collections management colleagues while exhibition project manager Hannah Silbert tracked all aspects of the project keeping its myriad activities and details on schedule. Rich earth tones with low light levels provide context for the historic objects and documents in the first section, No One Was Safe. Illumination of the 17th-century window casts a dramatic shadow on the floor and provides visitors with a subtle interactive experience.
Red illumination below the case displaying the McQueen gown, takes inspiration from a red pentagram that traced the fashion runway in the original fashion show. The lavender-gray walls of the Major Arcana section provide an unexpected lighter color and marks the shift to a contemporary context and themes. Co-curators Dan Lipcan and Lydia Gordon reviewing gallery color palette and paint swatches with exhibition designer, Lito Karatsoli-Chanikian.
Co-curator Dan Lipcan developed a case study on Elizabeth How that presents the experience of one individual through documents that trace the court process she went through. These include accusations and examinations, testimonies against the accused, indictment and statements by family, clergy and neighbors given in her defense.
Sadly, their words were to no avail and How endured conviction and execution for witchcraft in July Statement of James How Sr. DEP 01, box 8, folder
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