#witchinghourtheater

[witchinghourtheater]

She was sent to teach the oppressed to fight back. Tonight we call her in.

The Long Dance is not a story in the strict sense, but it moves like one, one long night, one arc, fifteen songs. Calling Aradia is the first beat. This is the opening. This is the invitation. Picture the circle before anyone else has arrived, only the faithful, candles kept burning through seven winters, doors left unlocked on the chance she finally comes, cups and kindling and a song laid out at the center of the clearing. This is that waiting. Then the calling itself, the exact moment right before everything else in the night gets to happen.

That calling has real history behind it. In 1899, an American folklorist named Charles Godfrey Leland published a manuscript he said an Italian witch gave him. It told the story of Aradia, daughter of the goddess Diana, sent to earth to teach the poor and the oppressed the craft they needed to fight back against the landlords and the Church holding them down. Historians still argue about how much of the tradition was real, but the text became one of the deep roots of twentieth-century Wicca.

The Long Dance is out now on Spotify, Apple Music, and YouTube Music.

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[witchinghourtheater]

the hour was never hers alone. five women and the ones who stayed.

Five women history could not ignore, and the devoted souls who stayed beside them through every hour. A pharaoh and her architect, a mystic and her scribe, a queen and the handmaiden who followed her into death. We tell the stories of women and the quiet people who never left their side. Which pair surprised you the most.

[witchinghourtheater]

Every witch in here is real. These are paintings, etchings, and carvings that actual people made over five hundred years, all of them circling the same idea of a woman who answers to herself.

We open on a pair flying off without a stitch on, because the first thing a witch apparently doesn't need is a dress code (Otto Goetze, Riding Witches). Then four of them carry baskets to market like it's any other Tuesday, owing no one a word about it (Alice Boyd, The Witches Go to Market, 1876). The marble one with the snake is just sitting there, hexing absolutely nobody, keeping her options open (Carl Cauer, Hexe, 1874). Durer's four stand around like a group chat, no thunderclap, no awakening montage (The Four Witches, 1497). The busy 1621 scene is somebody's idea of a witch and her familiars, animals everywhere, most of them clearly not listening. And the last one, an old folk charm box, makes no sense at all, which was always the point.

Five centuries of people drawing witches and landing on the same joke we did. We just added the captions.

Art: Otto Goetze, Riding Witches / Alice Boyd, The Witches Go to Market, 1876 / Carl Cauer, Hexe, 1874 / Albrecht Durer, The Four Witches, 1497 / A Yorkshire terror, 1621 / folk-art witchcraft charm box. All public domain.

[witchinghourtheater]

[witchinghourtheater]

Witches know the Cypress has seen a lot. The coven knows that the Cypress has many stories. it has a lot of history; it might even have some answers. But just because it has answers doesn't mean it will share them with you. A meditation on speaking to something seven hundred years old. You set a cup at its roots, pour a little sassafras, and you do not ask it for anything. The Cypress Remembers is on our new album, streaming everywhere now.

The Hours Are Ours is now available on Streaming services

Available now: Spotify Apple Music YouTube Music Amazon Music

[witchinghourtheater]

The Hours Are Ours is out everywhere. Rock, Rap, Southern Gothic, all witches heed the call. We are not alone.

Now it lives on every shelf you stream from.

Available now: Spotify Apple Music YouTube Music Amazon Music