A sample of witch dolls of different cultures

One thing I would like to point out before we totally dive into this: Witchcraft dolls can be used for very positive things like healing, protection and prosperity. Make one of yourself or a loved one for positive things. Witchcraft is art and science, neither good or evil.

I will give you some of my spell-craft tips on clay dolls in this article; Go to clay doll tips. Additionally, look for TIPS in my articles too!

Witch Doll: More than Voodoo Dolls

Now, before we dive into the dark and sticky, let’s set the record straight: the so-called “voodoo doll” you saw in movies? First of all, blame Hollywood. During the U.S. occupation of Haiti in the early 1900s, sensationalist propaganda painted Haitian Vodou as all pins and curses. In contrast, a witch doll is not a core part of Haitian Vodou. Instead, it’s more of a European import, which then got baked into Hoodoo and New Orleans Voodoo (Tann, 82-83).

Admittedly, ancient Egypt? Oh, they were pros at making a witch doll. Specifically, clay and stone figures of enemies got stabbed, decapitated, even stomped under doors. To clarify, Pharaonic spell-work meets home security system. Ultimately, these rituals were all about protecting the state, but the logic was the same: what happens to the image, happens to the target (Ritner, ch. 4).

Magical Figure of Captive Middle Kingdom, Egypt 1981-1650 BC. Side view. Photo courtesy of the Met Museum.

Ancient Egyptian, Roman and Greek Witch Dolls

Jump ahead a few centuries, and you’ve got a temple in Roman Germany where someone stabbed a name-inscribed clay witch doll six times, twisted it, broke it, and buried it with burnt offerings (McKie, 70). Meanwhile, elsewhere in Rome, wax dolls with slivers of bone and hand-penned curses were sealed in lead boxes and dropped in cisterns, magical solitary confinement (Gordon, 165).

Many Roman curse dolls and tablets were found in Egypt, because Rome invaded Egypt. Then, after a lot of stabbing and dramatic exits, Rome officially claimed Egypt in 30 BCE. Prior, Octavian had gone toe-to-toe with Mark Antony. Meanwhile, the Battle of Actium in 31 BCE sealed Cleopatra’s fate.

Roman curse doll of a nude female doll kneeling, bound and pierced with thirteen pins. Found in the Egyptian city of Antinoöpolis in terracotta vase with lead tablet binding spell (katadesmos). 3rd-4th centuries CE. Photo courtesy of Wikimedia Commons.

Afterward, Antony and Cleopatra both lost, and not just the battle. Finally, Octavian, soon to be Augustus, snagged Egypt for Rome. So, one power couple’s downfall became Rome’s victory. Thus, you find a lot of Roman and Greek witchcraft in Egypt.

The witch doll above was found in Antinoöpolis, an ancient Egyptian city in a terracotta vase along with a curse tablet with a binding spell.

Next, it gets juicy in Upper Egypt, 5th century CE. Specifically, two wax figures in an embrace were found in a cemetery pot with a papyrus spell. Understandably, it was love magic, of the coercive kind. Spoiler: it’s gross. Therefore, ethical PSA, just because some ancient wizard did it doesn’t mean you should. Consequently, ask yourself: Is this justice? Is it consent-based? Or are you just being a magical creep with witchcraft dolls?

Celtic Witch Dolls

In the meantime, medieval Ireland had its own take. For instance, poets would gather on hills, chant satirical curses, and stab clay kings with hawthorn thorns. Notably, the one-legged, one-eyed, one-armed ritual stance included. Importantly, Corrguinecht, the crane wounding posture, was believed to bridge the earthly and Otherworld realms (Ní Mhaoldomhnaigh, 15-16).

The Iron Age and early Christian era is host to many figurines and dolls, fashioned of iron, stone, wax and other materials. Some were of individuals, many preserved and used in multiple rituals.

Set of small carved Caldragh figures from Boa Island, Ireland. Iron Age/Early Christian period. They represent ancient anthropomorphic deities and similar in craft to figures of individuals. They are dedicated to the public domain (University of Michigan Library CC0).

Then, fast forward again to 16th-century England and Scotland. Specifically, wax and hawthorn witchcraft dolls appear in witch trials. For example, Agnes Sampson famously conjured a yellow wax figure and melted it beside the fire to end a man’s life. Additionally, in the Scottish Highlands, when wax was scarce, they used clay. Or, y’know, a stuffed glove. Obviously, you work with what you’ve got (Wilby, 54; Black, 195).

I buy solid beeswax by the pound for doll-making and sometimes a pound of beeswax pellets. Great for candle making too.

From the 1,600’s to our current modern post-industrial era, witch dolls have evolved a lot, Different and finer materials and tools along with people’s love of creativity led to more artful and beautiful works. Below is a picture of some simple, but modern Celtic-style witch dolls, often referred to as poppets.

Modern era typical Celtic style witch dolls

African Clay and Mud Dolls

Moreover, African traditions have their own lineage of clay-based magical figures. Notably, the Bocio (or Bocine) of West Africa (below image, left), especially among the Fon people of Benin, are clay or carved figures used for protection, power, or retaliation. Often activated through sacrifice, inscriptions, and ritual, these figures are potent forms of image magic, and their structure can be elaborately layered with bindings, metal, or organic materials. Though distinct from poppets or witchcraft dolls in Western contexts, Bocio share that same core principle: the image stands in for the target.

African Dolls Bocine, Zulu Healing Doll & Nkisi Nkondi

In Congo and surrounding areas (Central Africa), the nkondi, a type of nkisi, (above image far-right) is a spirit‑charged wooden or clay figure used in oath‑making, protection, and judicial magic. Pins or nails are driven into the figure to “awaken” the spirit or seal agreements, especially against wrongdoing.

The witch doll in the middle is a Zulu healing doll, highly decorative with and beaded. I think these are so beautiful. Beads symbolize various spiritual and emotional states. Often used for ancestral communication and healing rituals.

The doll on the far left is an African Bocio—also spelled boccio or bochio—a powerful, personalized wooden sculpture. These figures are created by the Fon people of Benin and nearby groups, especially within the Vodun (Voodoo) tradition.

These are just three of many examples of African image magic using dolls made of mud or clay. Furthermore, some were carved of wood and decorated for other purposes. Many African dolls are referred to as Fetish dolls, and some are meant to house powerful spirits that will rock your world if you mess with their maker.

Modern History and Effigies

Today, you’ll find witchcraft dolls crafted from everything from dough to builder’s putty. I’ve seen garlic heads with bird skulls or insects glued on, impressive commitment. The Museum of Witchcraft in Cornwall? A treasure trove of human creativity and revenge (https://museumofwitchcraftandmagic.co.uk/).

TIP: I even make “poppets” out of a lemon or a potato. A little carving and decorating and it absorbs whoever’s energy, or as it rots, the situation rots (sours or goes away). I can enchant them to absorb negative thinking or promote healing too.

But here’s the twist—witchcraft dolls aren’t all doom. Enter the harvest doll. From Slavic “Didukh” to the English Corn Dolly, and even Native American corn husk dolls, cultures around the world have long crafted figures from the first or last sheaves of harvest. These weren’t weapons but blessings, little vessels of fertility and protection, placed in shrines or homes for good luck.

Image magic doesn’t have to hurt. Votive offerings—figurines placed at sacred wells or shrines—date back to the Iron Age and still happen today. At Source des Roches in France, over 5,000 little figures were left in the waters, including body parts for healing and divine images for devotion (Hammersen, 53). Instead of binding someone with string, you’re blessing them using witchcraft dolls.

Some of my dolls get thorn-pierced, sure. But others get tiny armor. Some wear amulets. A few have cradles. They stand for protection, healing, grief, justice, whatever the work needs. In this way, figure magic remains vibrant, messy, and marvelously human. Some of my dolls belong in a Hellraiser sequel.

So, sculpting a clay doll or stitching a poppet for hexes or a healing wax doll for your altar, remember this: every witch doll holds power. That power comes responsibility. And at least a healthy respect for ancient weirdness.

Material to Make Clay for a Witch Doll

I could go on about creating fabric poppets, wax witch dolls and other forms, because clay and mud dolls are my faves, I’ll stick with those here.

Choose a good clay, the kind you have to bake to harden. The brand Sculpey works really well. Mix very fine earth from consecrated area from your property that you watered, strained and filtered until it’s very fine with Sculpey. The earth needs to be powder-like. About 1/4 earth to Sculpey clay ratio. Or make your own clay/mud entirely from scratch for a witch doll. Here’s what you’ll need:

• 1 quart or bigger mason jar, (enough for one good-size figurine).
• Enough earth to fill it at least 3/4’s of the way. Take out any big debris, rocks, plant matter etc.
• A large enough bowl to hold the “cleaned” earth.
• A fine mesh sieve for straining.
• A fine fabric cloth for second straining and large enough to tie around the finished ball of earth. You can use a handkerchief, I do. Mash bags work too!

Instructions for Making Clay for Witch Dolls

1. Put the earth in the large bowl, flatten it out level. Pour on water, a little at a time, until the water stands just a little over the dirt. Let it sit for 15 minutes.
2. Using your sieve, strain into your jar, this is your first straining. Leave it sit for 3-4 hours, and pour off all the extra water.
3. Now, in your clean bowl, place the sieve with the fabric in it for a finer filter, dump your earth into it.
4. Once it has drained, gather it up, tie it off or use a rubber band, squeeze it out and hang it up (watch out for drips!)
5. Leave it hang for about 4 hours, squeeze it once in a while.
6. Once it has stopped dripping, removed the fabric, ball it up and store in an air-tight container for up to about one year.
7. It helps to make batches of these, so you always have some witch-clay on hand for your dolls.

Making the Doll – Tips and Techniques

To my mind, mandrake is a must in image magic whereas dolls are concerned. Do your homework, do some real research and you’ll know. It helps “bring life” to the doll. But it can be difficult work with. So, here are some tips to work mandrake into your clay dolls. I use a ton of dried, so I buy mandrake in bulk by the pound.

TIP: You have Podophyllum Peltatum, originating in America, used often by Native American Indians for their practices and also Mandragora officinarum, the European variety. I find both work equally as well.

• If you are using fresh mandrake, mince it up, dry it out in the sun or on warm in the oven, not all at once but in streaks, loosen it and turn it. Give it a rest in-between too. Now, you have made dried mandrake.
• Once you have made dried or bought dried mandrake, place in a mason jar, just cover with spirits like whiskey or bourbon. Let it soak overnight or even for a few days. Put in your food processer and turn this magical root into a very fine puree. Cover a large plate with paper towels, dump and spread the mandrake out. leave it sit for day or three until completely dry. It will now flake off and very easy to turn into fine powder using your mortar and pestle.
• Enchant the mandrake and work into your clay. Don’t know how? Learn how to enchant an item or ingredient. In fact, I invite you to explore all my articles to learn how witchcraft really works if you want to excel and become proficient.
• TIP: You can use whole mandrake for the body of a witch doll too.

What is Your Doll’s Purpose?

Gregory on clay dolls and image magic.

TIP: What is your doll for? You can work return to sender powder or hotfoot powder into your clay. If the doll is for your protection and you make one of yourself work black salt into it. Is it for prosperity or abundance? Try using cinquefoil (five-finger grass), goldenrod or mint! Get to know herb magic (wort cunning), because herbs work.

TIP: You need a heart and a tag-lock. You can choose a crystal for a heart, I often use a piece of copal resin. In some cases I use a chunk or a whole chicken liver.

A tag-lock is also called an “anchor” or “conduit”, this creates the astral and psychic connection to the target of the doll. If you don’t have hair, blood, nails etc. write the name down nine times backward on all natural paper, like from a brown paper bag. Think of nothing but that person while you do. Burn it, mix the ash into the clay before forming the figure.

TIP: Don’t forget to check and ensure there is no moon void of course phase while you are doing the work. Also, consider planetary days and hours, and what lunar cycle you want. In a pinch, Wednesday, provided there’s no void of course, are always good overall for most magic.

I am oath-bound as is every coven member, can’t tell you all my secrets now can I? But this is more than enough to get you started. Happy witching! Blessed Be.

References

Credits & References Gager, John G. Curse Tablets and Binding Spells from the Ancient World. Oxford University Press, 1999.
Gary, Gemma. Traditional Witchcraft: A Cornish Book of Ways. Troy Books, 2008.
Gordon, Richard. “Showing the Gods the Way: Curse-Tablets as Deictic Persuasion.” Religion in the Roman Empire 1, no. 2 (2015): 148.
Hammersen, Lauren. Indigenous Women in Gaul… Bangor University, 2017.
McKie, Stuart. “The Social Significance of Curse Tablets…” The Open University, 2017.
Museum of Witchcraft and Magic. https://museumofwitchcraftandmagic.co.uk/
Ní Mhaoldomhnaigh, Ailís. Satirical Narrative in Early Irish Literature. NUI Maynooth, 2007.
Ritner, Robert. The Mechanics of Ancient Egyptian Magical Practice. The Oriental Institute of the University of Chicago, 1993.
Tann, Mambo Chita. Haitian Vodou. Llewellyn Publications, 2012.
Wilby, Emma. Cunning-Folk and Familiar Spirits. Sussex Academic Press, 2006.
Black, Ronald. The Gaelic Otherworld. Birlinn, 2005.

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