The name “Untraditional Witchcraft” is a call out to the much used and often much misunderstood or confused name “Traditional Witchcraft”.
Traditional Witchcraft is, generally speaking in the context of this website, witchcraft or folk magic as practiced by and passed down from person to person from times predating the repeal of the Witchcraft Act of 1951 in Britain, though this date is fairly arbitrary outside Great Britain. Examples of traditions under the term Traditional Witchcraft include the 1734 Stream of Witchcraft, the Anderson Tradition of the Craft (aka Feri), Cultus Sabbati, the Clan of Tubal Cain, N.E.C.T.W., the Coven of Atho, and others. This list is not meant to be exclusive, just to give examples, to give the reader a context for the type craft we’re talking about.
There is a tendency among those claiming the term “witchcraft” to either assume anything that makes use of “new” things or uses manmade or synthetic materials or technology can’t be part of witchcraft, or to reject the traditions and traditional methods, practices, and ideas in favour of newer ideas and methods. Both these tendencies are the result of the assumption that the Old Ways never change and only apply things used or understood at the time, and that any evolution, mutation, or expansion as time passes results in something new that is no longer the Old Ways, the Craft, or Traditional Witchcraft.
This site is not intended to be a look at “Traditional Witchcraft” vs “Untraditional Witchcraft”, but a look at how Trad Craft has and can change over time, both throughout the centuries before the repeal and since, proposing the premise that Traditional Witchcraft is a living, changing thing, and adapts to its setting, not a dead or static unchanging thing that stays the same in practice over the centuries.
This is a pragmatic look at the evolution and mutation of the Craft, and how the methods and ideas, the innate spirit of the craft, and essence or virtue of the craft can remain intact and whole without limiting practice and application from a pragmatic adaptation to the time and place it finds itself in.