Mauss, A General Theory of Magic and Interpreting the connection between Woman and Magic

Excerpt

“The same may be said of women. They are everywhere recognized as being more prone to magic than men, not so much because of their physical characteristics, but because of the social attitudes these characteristics provoke. The critical periods of their life cycle lead to bemusement and apprehension, which place them in a special position. And it is precisely at periods such as puberty, menstruation, pregnancy and childbirth that a woman’s attributes reach their greatest intensity. It is usually at such times that women are supposed to provide subjects or act as agents for magical action. Old women are witches; virgins are valuable auxiliaries; menstrual blood and other like products are common specifics. Moreover, it is true that women are particularly disposed to hysteria, and their nervous crises make them susceptible to superhuman forces, which endow them with special powers. However, even outside these critical periods, which occupy a not insignificant part of their life, women are the butt of superstitions and jural and religious taboos, which clearly mark them off as a separate class in society. They are made out to be the font of mysterious activities, the sources of magic power. On the other hand, since women are excluded from most religious cults – or if admitted, reduced to a passive role – the only practices left to them on their own initiative are magical ones.” Pg. 35 – Marcel Mauss, A General Theory of Magic).

Context of Excerpt

This excerpt is from Chapter 3, The Elements of Magic and the section entitled “The qualities of a magician. In this section, Mauss discusses the fundamentals of what makes a magician. He states that magicians acquire some skills, inherit others and that some are born with magical skills while other are not. He then states that physically a magician generally looks differently or can be distinguished by some mark or unusual characteristic. He then states that this concept seems to carry over to people across the world, with people treating others differently based on an odd look or “evil eye,” nervous personality or shrill voice. He continues that these things usually make people nervous because they are signs that magicians show when performing ceremonies, going into nervous trances, hysterics, etc.. Any abnormal physiological response or physical trait is viewed as a possible sign of power by both magician and society. Muss then states “They possess magical powers not through their individual peculiarities but as a consequence of society’s attitudes towards them and their kind.” (Mauss 33-35)

From Samantha Stevens to Xena, Warrior Princess Witchcraft and Paganism on American Television article by Jennifer Ricard, paintings by Tamara Guion http://www.mirrorblue.com/annex/pangaia/index.shtml

Jennifer Ricard explores witchcraft and paganism and their exposure to mainstream society through television. In particular she focuses on Bewitched, Sabrina the Teenage Witch, Charmed, Buffy the Vampire Slayer, Angel and Xena, Warrior Princess. Common themes between Ricard’s writing and the Mauss text in general include “family magic” or the concept of inherited magic, “secret identities,” the idea that purveyors of magic must do so carefully to avoid being ostracized, and being a “fish out of water,” having difficulties relating to or functioning within society.

Both authors touch on the idea that although witches get accused of things such as Satan worshiping, in fact they do not. This is a misunderstanding, when magicians or witches worship or invoke a spirit or god, it is generally symbolic and not personality driven such as the God of Christianity. In the Mauss text, he discusses how women who are forbidden to participate in the functions of their own religion (which is common, especially in Judaism) often have turned to magical and personal expression of their religion.

With Ricard’s article, this seems to ring true. Of the six or so television shows that she covers, nearly every witch, shaman or magician is female. Ricard does not speak to this specifically, but her article is an excellent example of Mauss argument on Pg. 35 of A General Theory of Magic.

Ricard, as opposed to Mauss, takes a modern American perspective on the situation of magic, stating that “Television is often cited as a reflection of society, so perhaps this recent upsurge in magic on television indicates a greater acceptance of Paganism in mainstream culture.” If women are going to be scape-goated for being witches, as Mauss has pointed out, it is probably a good thing that mainstream culture is promoting an idea that, “it’s okay to be a witch.” Most of the women in these television shows are also going through puberty, or post pubescent stages in life that Mauss would say promote intensity and hysteria, making them susceptible to supernatural forces.

Ricard goes through each of the aforementioned television shows and how they portray witchcraft and paganism. Starting with Bewitched, which originally aired in 1964 she states that for the most part witches are portrayed in a good light, although abnormal and often for comic relief. In Sabrina the Teenage Witch, the 16 year old witch is a fairly normal teenage girl who deals with the fairly normal angst and difficulties of adolescence, which are somewhat different due to her magical lifestyle. This show aired in 1996 and was also greatly for comic relief.

The show Charmed aired in 1998 and was the first television drama dedicated to the concept of the "Good Witch." The story centers on the lives, heartbreaks, and adventures of three sisters who discover that they are legendary protectors of the innocent. Ricard states that their witch skills are hereditary and they are not portrayed as spiritual practitioners so much as genetic freaks, similar to elves or other magical creatures in a fairy tale.

Where Ricard really seems to relate to Mauss, she states that “One problem of many modern real-life witches is addressed in nearly every episode of Charmed - the need for secrecy. The three sisters have "mundane" lives with jobs, friends, and lovers but they must keep these lives completely separate from their true identities as witches. She then goes on to state the three witch sisters are realistic in that they still have to cook, clean and work a day job.

In Buffy The Vampire Slayer, one of Buffy’s strongest allies is Jenny, a “real-life neo-Pagan: intelligent, caring, and wise, yet a regular human being with faults and failures. She does not have the supernatural magical powers attributed to most TV witches. Her magic consists of prayer, healing, and binding.”

Interestingly enough, Buffy The Vampire Slayer presents Wicca as a religion, rather than as a supernatural talent. Mauss himself seems to go back and for on whether or not magic and religion can be one and the same and where science fits into everything is also confusing. In the show Angel, there is a lack of traditional witches, but characters are shown practicing magic that is alchemical in nature, involving the mixing of ingredients but lacking deities of any sort.

In Xena: Warrior Princess, ancient Greek gods and pagan religious practice are accompanied by the Amazons, who seemingly follow a form of shamanism. The Amazons are an all woman society, and likely for their safety reveal very little of their religion in what they do. Xena also seems to mix in elements of science and Christianity, which all surprisingly (if not awkwardly) seem to work together.

Marcel Mauss and Jennifer Ricard may be experts on entirely different areas of magical studies, but the findings are not terribly different. Witches or magicians are everywhere, they are misunderstood and they are often only portrayed as women. The fact that modern media is promoting a positive concept of magic makes me hopeful that one day magicians, witches and anybody else who wants to practice alternate forms of healing practices may be left in peace.