We learn a lot from our contested realities. We learn how to reconsider the realities that have been constructed for us. These realities we tend to take for granted. And these realities tend to control us. They exist in systems that colonize language, racialize and police physical bodies, cosmeticize “science” and “justice.” This is why the witch is important. Who else to learn from but the figure who manipulates the real, the blindly accepted truth? We learn from the witch that discursive truths must be open for questioning, so that our realities are never complete and always malleable. The witch symbolizes the power of change and contradiction. In this short video is just some secret knowledge from YUNG WITCH that I’m dropping to you all as you explore the magic in your own minds…
I’ve concocted this piece with some camp. The video’s exaggerated theatricality is self-aware. Exaggeration in camp stretches reality with an irreverence for the authority of “high art” and crosses a threshold into the subject’s knowledge of its own kitsch. This self-aware theatricality embodies the juxtaposition of humor and disturbance. This juxtaposition then causes anxiety in the viewer, reflecting the witch’s power to change and contradict the realities that we believe or expect.
Here is a spell from YUNG WITCH’s coven cast in the video, “WHEN WITCHES BREW,” a discussion on the aesthetic relationship between alcohol and murder:
They say alcohol’s a gem. They also say that it’s the gateway to a murdering mind. That’s a funny thing, a murder. A fat one, when a weapon flows outside of its hole, and all the residue pours so easily like cane juice. A chicken bone removed so cleanly out of its drumstick. Just like when we saw your spine slide through its couched fat, unworried. And that alcohol, it controls the blood. Tightens the veins… A marriage between alcohol and murder. It’s a carcass, a bouquet, the most displayed of things.