The Ritual Performances of Amodali
My journey as a performer began during the 1980’s. I began to experiment with extending my magical practice by exploring the magic of Babalon in ritual performances. The performances integrated movement, extended vocal techniques and trance states. Physical movement is an integral element within magical traditions and used as means to induce trance and altered states of consciousness. I found within my magical practice that possession states induced by the 156 Current produced a complex array of kinetic, erotic expression and that within the dimensions of feminine, magical corporeality there is much unexplored territory. The trance states create techniques to harness the sexually aroused body as a vehicle for non-verbal, magical knowledge systems.
The female body and its sexuality is continually policed, constantly scrutinised for its acceptability and conformity to degrading, reductive, cultural ideals of beauty and coercive forms of commercially fabricated imagery. Ironically, the very contrived aesthetic and glamorization of Babalon in popular occulture limits the vast uncharted territory of expression that remains unexplored in terms of female magical sexuality and creativity. The use of trance practices is a means to break the spell created by such objectification. One moves in ways that disturb and disorientate, challenging notions of boundaries and control that describe the phenomenology of female magical consciousness by using embodied languages and performance that is subversive, disruptive and anarchic, creating possibilities of transformation for both the ritualist and participants.
During ritual performances the body becomes an agent of magical disruption. It intoxicates, deranges and breaks down barriers. That the body, Women’s bodies, may be the site of such direct forms of communication is transgressive in itself and a little explored site of magical potential, concerned with developing forms of ecriture feminine within a ritual space. Acts which have the potential to unravel dominant cultural narratives and dissolve boundaries. When immersed in a possession state, the boundaries of the body, the erotic self /not self are tightened and loosened as a creative skill in which one has control and authorship. One may choreograph explosive, sexually charged spaces by which the 156 current (as shorthand for a complex melange of initiatic sexual currents) can be transmitted and communicated. Consequently, notions of what constitutes magical sexuality, magical ‘ritual’ are deconstructed and challenged. A key aspect of creative inquiry is therefore concerned with exploring the mysterious horizons of the female sex-magical body, its architecture, its emanations both physical and etheric , its patterns of expression and how this may be developed within a process of magical development. The exploration of these non-verbal, embodied, erotic states may yet manifest as a subversive weapon at the core of the 156 current and part of a Venusian revolution, with potential to destabilise consensus notions of sexuality.
Live Performances 2019
A new live set is now in preparation for performances on 2019. More details TBA later this year.