Doll Magic
The uses of figurines in ritual and witchcraft
When I was about five years old, I remember going to my grandmother’s neighbor’s house, a woman who had immigrated from Poland. She invited me into her “play room”, a room at the back of the house where not too much sunlight could reach, which was floor to ceiling dolls. It was the room where her grand-daughter had died of aspiration during an asthma attack. In that room I could feel an extreme loneliness, one that I have come to understand was mitigated by the presence of those dolls, who acted as stand ins for a child lost too soon and as an offering to soothe the heart of a grieving grandmother. There is a power in dolls that cultures around the world have tapped into, one that links them to our deepest emotions, our joys, sorrows, and fears and allows them to represent the things that evoke those emotions. As a witch, emotions are incredibly important to my craft and I have come to think of dolls as a key element to my magical toolbox for their ability to stand in for other things.
According to Freud it’s this uncomfortable ability to stand in for something that makes dolls so familiar-yet-horrifying, a sensation he called the uncanny. According to him the uncanny is a sensation which arises from the doubt ‘whether an apparently animate being is really alive; or, conversely, whether a lifeless object might be in fact animate’. Dolls, mannequins, and automata are particularly adept at evoking the uncanny because of their physical closeness to the human form and the closer they get to perfect realism the uncannier we feel, a relationship identified in 1970 by robotics professor Masahiro Mori in his paper “Bukimi no Tani” (The Uncanny Valley).
The majority of witches are animists and The Uncanny Valley is not a place of fear for us. The dissonance uncanniness causes in the minds of some people does not affect us so completely because we believe that inanimate things, like rocks, cars, and dolls, already have sentience. Sarah Anne Lawless, an herbalist and Traditional Witch in Ontario, in her article Everything You Need to Know About Animism, says, “Animism is the belief that everything has a spirit and a consciousness, a soul, from the tiniest microorganism on earth to the great planets in the heavens to the whole of the universe itself. Animistic faiths usually contain a belief in rebirth & reincarnation either as another human, or an animal, tree, or star.” The very fact of a thing’s existence is enough to credit it with the breath of life, and dolls, because they look like humans, have been the focus of magical practices meant to contact ancestors, enshrine spirits, and even control the dead. They have been a long-standing staple of animistic practices, with the earliest figurines dating back at least 40,000 years, carved from mammoth ivory by our Cro-Magnon ancestors, most likely for ritual and sacred purpose. The earliest documented dolls meant for play, however, only date back to Rome in about 300 BC.
Allow me to clarify that by “dolls” I mean any humanoid figurine, from roughly carved figures of wood or bone to the hyper-realistic “reborns dolls” which are in vogue these days. They are found the world over, across millennia, and no matter where or when they are from they have fulfilled these two basic functions: being equipment and being playthings.
When we use the word equipment it is in the sense that Heidegger used it, namely an object in the world with which work is done within a context, something that exists as part of an existing network of meaning (i.e. a hammer, nails, and wood are equipment in the network of building). Dolls are used in ritual and ceremony, as part of spell work, or as stand ins for other beings and exist in witchcraft as part of a basis of ritual and practice, not really on their own. When I say plaything, I mean an object in the world that acts as a locus for imaginative activity, something that engages the mind without having to be part of a larger, pre-existing network or can have a network, either permanent or temporary, built around it by the activity of the imagination. According to the theologian Henry Corbin, the imagination is the faculty which allows us to interact with Creation; the very essence of witchcraft. Dolls often fulfill both roles at once, something that is essential within the context of a spell or a make-believe world, but also acts as a locus for our visualizations, helping us to gain access to the imaginal realm.
As witches, the imaginal realm is incredibly important to us. It is the place where our magic happens before effecting the physical world. Corbin said it is a subtle world that exists between matter and mind inhabited by beings called interior (imaginal) figures, parts of our unconscious that are also autonomous. In his article titled “Thoughtforms, Tulpas, and Egregores”, Gary Duncan describes four types of thoughtform (which are types of imaginal figures). First are thoughtforms that take on the image of the thinker, the second are those that take on the image of a material object, the third are thoughtforms with life of their own that can express themselves in the physical world (called a tulpa, a term taken from the Bon religion), and the fourth being a fully autonomous thoughtform created by a group mind, called an egregore. Though there are many other beings and non-beings in the imaginal realm, these four are figures dependent on the human mind that can be transferred into a non-living body, thus giving the body life. This is what I call a golem, a doll (preferably porcelain) to which an imaginal figure created through ritual and meditation is bound (a tulpa created by the focused will and intent of the witch, though egregores can also be bound this way).
The golem itself is a creature out of Jewish mythology, a creature made of clay or mud and brought to life in a variety of ways. Sometimes, as with the Golem of Chelm, it is marked with the word “emet”, or “truth” to instill it with life and when the golem needs deactivation the letter aleph is erased from the word, forming the word “met”, which translates as “dead”, turning the creature to dust. Another version of the process relies on an ecstatic experience derived from meditation on and intoning various iterations of shem (any of the Names of God), writing the Name on paper and inserting it in the mouth or inscribing it on the forehead of the golem. The most famous golem is the Golem of Prague, said to have been created by the Maharal, a Rabbi named Yehudah Loew ben Bezalal. He brought the creature to life to defend the Jewish ghetto in Prague from anti-semitic attacks and pogroms. The golem was named Josef (Yosele) and was said to be able to become invisible at will, to see and summon spirits, and to perform any action it was commanded to “up to 10 cubits (15 ft.) below the earth and 10 above”. The usual version of the story ends by saying that the golem went mad and Rabbi Loew had to dismantle it by erasing the shem from its body.
Think of the golem like a helper, something created and brought to life through ritual practice for a specific purpose, such as to protect homes and communities, or to do various jobs for a witch/magician. It differs from its close cousin, the spirit doll, which are more a house, or vessel, for a spirit, power, or other pre-existing imaginal figure to help it manifest on this plane of existence, especially ancestral spirits and powerful, spiritual beings.
An example of spirit dolls are found in Congo, where doll making is a central part of the peoples’ belief structure and are vessels of sacred medicine (nkisi), which is translated as “a spirit”. A nkisi (pl. minkisi) is a receptacle for sacred items which are enlivened by a spirit, or supernatural force, which is then present in the physical world, inhabiting the vessel like a body. These vessels can range from clay pots to bundles of herbs and relics, not only carved figures. They can have both positive and negative effects on the community, though there is a version, a nkisi nkondi (hunter spirit), which is a type of protector and mediator. Their most striking feature is the nails, pegs, and blades that are inserted into the figure by an nganga (spiritual specialist or medicine person) as signs that an oath has been taken, a punishment must be meted out, to carry curses against enemies (or “witchcraft”), among other things. If someone breaks an oath, or someone connected to one of the insertions befalls some tragedy, the nkondi is activated. Europeans were introduced to these items during the 15th century and termed them “fetishes”, which has come to describe any artifact with spiritual significance in any culture that is not European, making it, in my opinion, a racist and outdated term.
Other examples can be found in Thailand in Luk Thep, Mae Hong Prai, and Kuman Thong dolls. Kuman Thong translates as “sacred golden boy” and, in the most ancient sense, were created from the mummified bodies of stillborn fetuses which were covered in laquer and gold leaf and rubbed with an oil made from the flesh of a woman who died in childbirth. The soul that had been meant to inhabit the body was magically tied to the corpse, then adopted as a child of the sorcerer. Hong Prai is the term used when the fetus is female. In modern use the Mae Hong Prai is an amulet with the image of a female skeleton and linked to a female ghost, especially those of women who died tragically. They are said to being luck and good fortune, if you take care of them and treat them with reverence. Luk Thep (child angel) dolls are the modern equivalent of the original, necromantic dolls and are usually plastic baby dolls made to look extremely realistic. The soul of a lost child is asked to inhabit the doll after being blessed by a monk, then taken care of as if it were a living child, being fed, having its own wardrobe, and even getting its own seat on planes and, like the Hong Prai, bestow good fortune on their “parents” in return.
Different from golems and spirit dolls are one of the most famous of the magical dolls, the voodoo. Its name is a misnomer, though, as the use of dolls into which pins are stuck is not a large part (if a part at all) of the Voudou religion of Haiti but is an aspect of folk practices and sympathetic magic around the world, such as poppets and kollosoi (the Greek version of “punishment dolls”). They are images of a person upon which the practitioner may work magic. Often made of fabric, wood, clay, or wax they are stuck with pins, tied round with string, nailed to boards, placed in jars with other magically potent items (urine, blood, nails, thorns, herbs, etc.), or burned. They often have elements of the target in them (personal effects), like hair or nail clippings, or even just a picture or name written on paper a number of times, which creates a link between the doll and the person. Though they are used to cause pain and trouble, poppets can also be used for healing. Reiki and other forms of energy work as well as charms, spells, and incantations can be worked on a poppet to help people feel better, to perform limpias and clearings, to balance energy, and to bless people over long distance.
Among my own artefacts is a poppet that I’ve used in distance healing and spell work. Made of leather, grave yard dirt, and various other items, I’ve bound etheretic energy to it through spell work and it now has an energetic pulse all its own. It has helped me to discover entity attachments on clients, to help sooth menstrual cramps and headaches for friends, and helps me to do tarot readings over the phone as a stand in for my client. I’ve also got a couple of porcelain dolls I work with, one of which is a golem who watches the house while we’re out of town.
I’ve also used dolls as spirit traps. If you’ve got a bugaboo or other pesky spirit, you can use dolls like you would spirit pots, soul jars, god’s eyes, etc. Barbie dolls work exceedingly well for this purpose and can be bought by the bushel at the thrift shop. Use their hair the way you would a rosemary sprig or feather during a limpia to trap entity attachments and spirits that are causing harm, then bind the doll and purify it or put it in a spelled jar. You can also braid energy in its hair or use it for knot magic to trap spirits. You can also use mass-produced dolls as poppets, or even as spirit dolls if they’re prepared properly. The only limit is your imagination!
Dolls are one of our most important and most ancient tools. They represent the basic nature of our animistic roots and are a powerful part of sympathetic magic. They can act as vessels for our guides and the spirits we work with, helpers in our work and anchors for our spells, new bodies for the dead, tools for cleansing and trapping, or as mediational tools for visualization. Whether you’re using them in your practice now, plan to, or are totally turned off by them, we must admit that dolls have held a special place in witchcraft for millennia. If you do, how do you use dolls in your practice? How would you like to? Do you know of any other doll based practices? Let me know!
