Witchcraft or sorcery, as far as I am concerned, is ... a temporally and spatially changing form of language. In Africa its closest kin is music. Like popular music (High Life, Sukus, Juju, etc.), popular paintings from the Bini or other convents and the slums of Lagos and Kinshasa, or the vibrant Key to Success titles in the so-called Onitsha Market Literature, sorcery constantly changes forms and instruments, but the content remains whatever misery or joy the individual or community might be experiencing at a particular time. Like music, painting, or literature, sorcery is an art of the soul, at once personal and social.
E. C. Eze, “Epistemological and Ideological Issues about Witchcraft in African Studies: A Response to René Devisch, Elias Bongmba, and Richard Werbner” in Witchcraft Dialogues: Anthropological and Philosophical Exchanges (2001)











