Witch hunts are not of the distant past

I just finished the Dutch translation of Monica Black’s A Demon-haunted land: witches, wonder doctors, and the ghosts of the past in post-WWII Germany. Up until then I thought that Western belief in witches in the twentieth century and later was either based on wicca or based on individual cases of wise women or cunning men.  But no, Black’s book makes clear that even in our modern times, actual witch hunts can still take place in the Western world (I already knew they still happen in other parts of the world).

Black describes a landscape of war trauma, defeat, denial and suspision during the aftermath of World War II. This period is mostly known for the miraculous transformation of (West-)Germany from a war torn country to a modern, forward looking country that fully participates in the Western world. But WWII and the crushing defeat of Germany did not just disappear from people’s memories. And nazis did not just disappear either, despite a vigorous campaign of denazification. A lot went on behind closed doors, especially in the decennium or so after the end of WWII.

In this period as in every other period in human history, in their search for healing (mental as well as physical), people sometimes clung to wonder doctors in their uncertainty. Black’s book describes the case of Bruno Grüning, a German miracle healer opperating in the years after WWII who at one point drew thousands of people who were looking for healing. According to Grüning, some people were simply evil and could not be helped. Another folk healer, Waldemar Eberling, pointed to an accidentally passing neighbour, Frau Maassen, as the source of child’s disease. She was branded a witch.

These cases were not rare. It’s a strange idea that even in our so-called enlightened times, people can still be so scared and distrustful that they need an external source as the reason for their discomfort that they can exterminate. Think of the Satanic Panic of the eighties or people who are openly pagan or wiccan receiving threads even in the 21st century. Luckily we do not have an Incquisition anymore, but these cases could still be very harmfull. Poor Frau Maassen was treated as a pariah by many people in her community and became so upset that she lost ten pounds.  

These histories strike me as very important lessons even for today – especially for today. Here in the Netherlands, there is a tendency among a not-so-small subset of people to blame everything, from the lack of affordable houses to street harassment – on foreigners, especially non-western Muslim foreigners. They are not called witches, but the hate these people have to endure from a subset of my fellow Dutch people is sometimes downright irrational and certainly scary.

Despite what many modern day witches want to believe, many non-witches still see witchcraft and the word “witch” as something decidedly negative. I guess communities, at least most people, need adversaries, someone or something they can blame when something goes wrong.  Sometimes these are witches, sometimes these are Muslims, Jews or another group of people.

But I do not believe that is the whole story. There is also a sense of wounded superiority. Some people hold the conviction that that man is better than woman or white is better than black. When these ideas are attacked and/or proven false, someone whose worldview is built on these ideas could lash out. I do not have a solution for any of this. (Wouldn’t it be great of one person could solve this?) Some part of me thinks it is not just a social issue but also a personal issue – some individual will always seek ways to make themselves feel superior to others and will always seek external scapegoats for when something goes wrong. In a climate full of tension, this can ignite and  turn into something bigger. What we can do is learn to see this behavior and make a stand against it.

Read The Left Eye Of Odin (Or Right) on the Norse Mythology Blog

“He is the fury that stirs poet, artist, dancer, and musician as they enter into a deeply creative state in which they lose track of time and mundane situation. When the guitarist is so concentrated on improvising in the moment that she doesn’t afterward remember making any conscious musical decisions, Odin is there. When the painter is so immersed in the work that she doesn’t notice the night’s passing until the beeping of her morning alarm finds her still brushing away, Odin is there.”

Read the whole article about developing myths and stories over time, comparative mythology and the figure of Odin by clicking on the link below:


Ostara and the historical accuracy of deities

Lately I was reminded of this meme from a few years ago:


It was apparently sent out by a community of skeptics – mostly to use as a means to discredit the christian celebration of Easter. Pagans fell over themselves to tell how wrong the meme is. And indeed, it’s baffling that skeptics (of all people) didn’t first check their history books before they decided to bash christianity.

However, what was mostly pointed out was the fact that Easter doesn’t come from Ishtar. And the egg and hare certainly aren’t Istar’s symbols for all I know. I mean, they are the symbols of the goddes Ostara a.k.a. Eostre! Right? I find it suprising how many pagans and heathens still stick to this idea – the idea that Ostara is an ancient Germanic goddess (or Eostre an ancient Anglo-Saxon goddess) who is associated with dawn and spring and whose symbols are the egg and hare. Ostara having her celebration around the same time as christian Easter explains where the name Easter comes from, or so they say.

Except that the evidence for the existence of an ancient goddess called Eostre or Ostara is very scant, almost non-existent. The only concrete information we have is based on one mention by Bede in his 8th-century De Tempore Ratione. He writes:

“Eosturmonath has a name which is now translated “Paschal month”, and which was once called after a goddess of theirs named Eostre, in whose honour feasts were celebrated in that month.  Now they designate that Paschal season by her name, calling the joys of the new rite by the time-honoured name of the old observance.” [translation: see under sources below]

That’s it, that’s all the historical information we have on Eostre. It’s not even a direct source. It appears that all the other elements of Eostre were added in the 19th century by Jacob Grimm, who was puzzled by the existence of the goddess, and by other folkloric traditions concerning eggs and hares. He decided that they might have been connected. Grimm also thought that Eostre might have been the same as several Germanic goddesses with names that sounded a bit alike. Thus, the names Eostre and Ostara have become mingled in such a way that it seems that they are all the same deity (for more on that, read Grimm and Shaw – see sources below).

Somehow this has stuck with later folks, and especially with pagans and heathens. I think it has to do with us having so little information about some ancient deities that we latch onto anything that might fill in the gaps. Even the people who *know* that all we have on Eostre is her name, are more than happy to incorporate her in their Ostara/spring equinox celebrations, while dying eggs and telling stories about hares and witches. Why, I’m even guilty of it myself!

This is one of the hot topic discussions within pagan religions. Do we try our best to recontruct the ancient religions, or do we interpret and fill in the grey areas as we go along? To be honest, I think that question has been answered already.

We cannot go back in time. A lot of lore has been lost through the ages and will likely never be  regained. Much of what we do is (post-)modern, whether we like it or not. Even the science that many reconstructionsts base their work on, is again based on theories. Of course, some things are well known and based on facts. Even then I have to wonder: cultures and religions change over time – it seems a part of nature. So why wouldn’t our deities change along?

Ostara and Eostre (if they ever existed as such) were lost to us for a long time, and then rediscovered in one shape or another. The goddess is again worshipped, in a way that befits the 21st century. In our current time, in which human culture has been almost consciously seperated from nature, pagans worship nature deities (among others) in their many shapes and forms. Ostara as goddess of spring, dawn and fertility is one of them.

That doesn’t mean we don’t have to learn accurately from history. Of course we have to – and it’s one of the aims of this website. But that means we know what our gods were like 1000+ years ago, it’s historical and perhaps inspirational knowledge. It is only an indication of what experiences with deities in 2016 will be like. Ostara/Eostre is stronger then ever – she is celebrated all over the world and connected with popular fertility symbols. I don’t see anything wrong with that, as long as we learn and remember where she comes from.


Grimm, Jacob. Deutsche Mythologie. (1st edition) Göttingen: Dieterich. 1835.

Shaw, Philip A.  Pagan Goddesses in the Early Germanic World: Eostre, Hreda and the Cult of Matrons (Studies in Early Medieval History). Bristol Classical Press. 2011.

Wallis, Faith (tr.) The reckoning of time. Liverpool University Press .1988.

‘Bruegel’s Witches’ exhibition in Utrecht

It’s the witching season, and Museum Catharijneconvent in Utrecht has dedicated a temporary exhibition to just this theme. Catharijneconvent focuses on the preservation of Dutch christian art and history, so witchcraft may seem a strange subject. But it’s really not, if you realize that a lot of information about witchcraft in the Middle Ages and Renaissance (and thereafter) has been handed down to us by christian sources, for better or worse.

The exhibition, which is based on a 2011 research by guest curator Renilde Vervoort, focuses on two works by Pieter Bruegel that depict the christan apocryphal story of Saint James the Greater visiting the sorcerer Hermogenes. In her research, Vervoort argues that Bruegel’s depictions of witches in these works are the source of our typical witch with cauldron and black cat who flies through a chimney on a broom.


At first, when I hadn’t seen the exhibition and  hadn’t read Vervoort’s book yet, I was a bit sceptical about this idea. After all, there are lots of witches depicted with brooms, cauldrons, etc. before Bruegel’s time. However, Vervoort’s argument is about the specific combination of the aforementioned attributes, and the influence Bruegel had on later depictions of witchcraft, mainly in the Netherlands. In that context, her conclusion stands a lot stronger.

Now on to the the exhibition itself, which is a joy to visit. The Catharijneconvent is a lovely museum which is seated in an old monastry in the center of Utrecht. It is well known for its exhibitions that mostly focus on christian history, but are also very open to a non-christian audience. The exhibition of Bruegel’s Witches is a good example of that. For someone like me, who is interested in art history, folklore, and the history of witchcraft, this is like a child walking into a candy store.


The first room tells about the context in which witchcraft in 16th century Holland existed. We come across heretic sects and see paintings of the extremely cold weather that large parts of Europe experienced. Both are generally considered to be big influences on the second large outbreak of the witch craze in the late 16th century. Early drawings and engravings of witches by Hans Baldung Grien and others are on view (see above for a few examples). They are considered to have had a great infuence on how we see witches today. Vervoort however thinks the chance that Bruegel was directly influenced by them is fairly small. Doesn’t matter, I was so glad to finally see these fantastic works in real life! A large part of the room is taken by a modernversion of scales on which suspects of witchcraft were weighed. One can actually sit on these scales and listen to the questions that inquisitors would fire in your direction. In the back of this same room, we are confronted with the two prints of Bruegel around which the whole exhibtion is built.


The next room kind of dissects the image of the which that is depicted on Bruegel’s first print, where the witches fly through the chimney. And after that, we get to see the impact that Bruegel’s work supposedly had on later artists, in a hallway filled with image after image about the now well known witch’s sabbath and witch’s kitchen.  It’s  a delight to see all these works together, by popular 17th century artists such as Cornelis Saftleven, Frans Francken II and David Teniers II. The repetition of the images really drives home the point that by now the concept of the witch on her broom flying through the chimney on her way to the sabbath was a well known subject. There seems to have been a small market for this kind of images. The exhibition refers to them as akin to our modern horror movies, something to take a creepy delight in.


There was a more serious tone in these artworks too, as the discussion about the realness and dangers of witchcraft was still very lively in this period, and people were still sentenced to death over accusations of witchcraft. However, the Netherlands were a relatively calm corner of Europe when it comes to the witch craze. Of the tens of thousands of people that have lost their life to this black episode in European history, only ca. 200 were in what is now the area of the Netherlands. Also, some of the most enlightened thinkers on witchcraft came from this same area, such as Johannes Wier and Balthasar Bekker. Is it a coincidence that by far most of the witch images we know from the 16th and 17th centuries are from the Netherlands?

I’ll leave that question for now – let’s go back to the exhibition. There’s two more rooms, and I find both to be a bit disappointing after what we’ve seen so far. One room is about women as witches. The subject is very interesting, but it just doesn’t really fit the narrative of the rest of the exhibition, and when it comes to subject matter the artworks and objects gathered in this room are (in my humble opinion) all over the place. The last room is about the depiction of witches in our modern times. It’s an empty room with projections on the walls of witches in popular media, such as movies and animations. I knew modern witches would be depicted in this exhibition, but I expected a bit more of it – maybe some actual artworks, some objects or movie props, and maybe a nod to modern witchcraft?


That said, I really enjoyed this exhibition! It was a feast to see all these witch images together. I definitely learned a thing or two from the exhibition, and from Renilde Vervoort’s study Vrouwen op den besem en derghelijck ghespoock (Women on brooms and similar hauntings), which I’m reading right now. I bought it in te museum shop, together with Johan Otten’s Duivelskwartier, which I wrote about last month.

It’s good to see that witchcraft, magic and folklore are getting more popular as research subjects. It teaches us a lot about the nature of people and about the ways of certain parts of the world. And to this pagan, it is also a source of inspiration.

New book on witchcraft: Johan Ottens ‘Duivelskwartier’

A new book has appeared about witchcraft in my area! It’s written by Johan Otten, a journalist who studied the subject of witchcraft in Noord-Brabant (the Netherlands) for over three years with the following book as result. Duivelskwartier. 1595: heksen, heren en de dood in het vuur (Devil’s quarter. 1595: witches, lords and death in the fire) looks very promising and will likely be in my posession very soon.

Otten, Johan - Duivelskwartier

Here’s a translation of the summary, from publisher Vantilt’s website:

‘During the 16th century in Europe, a relentless persecution started of people, mainly women, who were seen as followers of the devil. Tens of thousands of these ‘sorceresses’ lost their lives during bursts of violence that reached their height around 1600. The witch hunt followed an unpredictable pattern of local and regional outbursts. About one of these explosions, a extensive and detailed file has been kept that is exemplary for the persecutions in that period. In the year 1595 a high functionary of the government from Brussels traveled to ‘s-Hertogenbosch to research the trial and execution of tens of women in the areas of Peelland and the Meijerij. The court reports and notes and  he gathered give a fascinating insight in the witch hunt, and give a voice to survivors and family members.

Based on authentic documents, Duivelskwartier tells the true story about a witch hunt in Peelland.  It’s about neighbours’ quarrels, magic and suspicions, about hallucinated witches’ sabbaths, about manupilation by those in power. And it’s especially about the horrific fate of everyday village people.’

Additional information: Price €24,50,  ISBN 9789460042447, paperback, illustrated in color, 15 x 23 cm, 452 pages. Purchase here: http://www.vantilt.nl/boeken/duivelskwartier/

The magic of landscapes


When starting this website, I wanted to focus as much as possible on Dutch heathenism, witchcraft and folklore. I soon stumbled upon a problem: ‘the Netherlands’ as we now know them are only 200 years old. The borders we have now were unheard of in ancient times. What’s more, many people who lived in this area a couple of thousand years ago, are all but gone. Many people who live here now don’t stem from Germanic tribes who lived here generations before. But they still consider themselves Dutch. Basically, the construction of ‘the Netherlands’ is relatively modern, quite arbitrary, and always developing.

National identity is a fickle thing. I’m still a sucker for it. When I walk around in the area where I was born and grew up, I feel a deep connection to the land. I know that this is a personal thing – even though my family has lived in Noord-Brabant for quite some generations. But there are many people who were born here, who don’t feel a connection with their homeland at all, and even actively want to leave to go and live somewhere else.


So where does this connection come from? For me personally, it’s the experience of walking through fields and forests, the many plants growing, blooming, sleeping then awakening again. It’s experiencing the wind, seeing beautiful skies and birds flying. Noticing the life patterns of the animals living in my area. This can be noticed in practically every other land on Earth, I know. But having lived her for almost all my life makes it much more intimate, as if I’m part of this particular land.

The connection is also created through a sense of history, the realisation that the land we walk on is so much older then we are. It literally contains the knowledge of the era’s that came before us. It makes us feel part of a bigger whole. This can especially be seen in the many legends that are connected to the areas over the world. From legends about ghosts and monsters to the folklore of places being fairy mounds or kobold dwellings. No one really knows how old these stories are and where they came from, but they give us the feeling, the idea, that there is more to the land than meets the eye. And I love how we give stories to the land. Maybe it’s our gift back, because the land gives us so much.


Many of the old Dutch stories, legends and fairy tales haven’t been translated into English as far as I know. Many of them are connected to particular places. I will start (roughly) translating them and putting them on this website in the near future.