The Fifty-first Succubus archetype of the Fallen ‘Anima’ is Balama or Balaama. She is a Terrible, Great, and Powerful Queen. She appears at first as a vision of a heraldic crest depicting three heads, the first being that of a Bull, the second like that of a Ram, whereas the third is that of a knights helmet.
Then the knights helmet becomes as her own head, and the rest of her body is seen. Although, she often manifests wearing a bowler. She has flaming eyes, who wields a Serpent skin umbrella.
She stands upon the rug-skin of a furious Bear, who sometimes carries a Goshawk upon her fist or that of a raptor being seen depicted in her heraldic crest.
She speaks with a seductive voice, giving true answers of things Past, Present, and to Come, when she induces erotic time travelling dreams, after conjuring her Succubus archetype of the Fallen Anima.
She can make her conjuring Artist to go Invisible, and also to be Discordian Witty. She governs 40 Legions of (Succubae) Succubi Art Muses. Her Seal is to mediated upon prior to summoning her into your psychonaut lucid dreams of erotic time travel journeying.
The classical Playgirl Goetia of the deified ‘Animus,’ made as a God and Devil, names this spirit as Balam, which is commonly seen to be derived from the name of the Midianite Balaam of Pethor, son of Beor, who was a prophet; whereby, the spirit, named Balam, of the Playgirl Goetia is associated with the ability to remote-view time.
Balam was apparently hired as a psychic hit-man by Balak the king of Moab in order to curse Israel (Numbers 22:5). Balaam initially finds the endeavour not a very good idea at all (Numbers 22:18).
But he needs the shekels, so he goes off and does his stuff anyway, who ends up starring in one of the most curious cabaret scenes in the very serious Bible: that of the talking Donkey (Numbers 22:21-35).
Hell! You could turn it into a musical, the kiddies love singing Donkey’s.
Although, considering the bloody genocide of the Midianite’s by the Israelite’s, I don’t think it would be suitable fare for children, since it would influence them to commit similar atrocities in the name of their deified Mickey Mouse.
However, since I am reversing the symbolic Matrix of the deified Animus, which resides within the temple psyches of all women, who had created the Playgirl pantheon of monotheist machismo Angels and butch Demons, the name of Balam can otherwise be seen as being a composite word of ‘BA’ and ‘LAM.’
When to see Balam (Anima/feminine: Balama) as a composite name for a two-dimensional image of a meditative focus upon a Succubus archetype of the Anima, it will then generate other symbolic associations within the dream, which of a word formula will flesh out the three-dimensional construct of an internally conjured Tulpa.
The ‘BA’ is an ancient Egyptian term, which describes what makes an individual unique. ‘BA’ is similar to the notion of ‘personality’. (In this sense, inanimate objects could also have a unique character pf a ‘BA,’ and indeed Old Kingdom pyramids often were called the ‘BA’ of their owner).
The ‘BA’ is an aspect of a person, which the Egyptian’s believed would live on after the body died. The ‘BA’ is sometimes depicted as a human-headed bird flying out of the tomb to join with the ‘Ka’ in the afterlife. The ‘BA,’ essentially describes the Out Of Body Experience. The human headed ‘BA’ bird can be seen as being represented by the Goshawk on Balam’s wrist.
As for ‘LAM,’ during January through to March of 1918 Aleister Crowley began a series of magickal workings called the Amalantrah Workings, while sojourning amidst the furnished rooms in Central Park West, New York City.
The workings were performed of sexual and ceremonial Magick (Crowley’s spelling) with the intent to invoke certain entities into physical manifestation. In actuality, the workings manifested as a series of visions and active-imagination communications received through the mediumship of his partner, Roddie Minor.
The following is Aleister Crowley’s description of Roddie Minor from his, Confessions, (abridged ed., 1969):
“Her name was Roddie Minor, a married woman living apart from her husband, a near artist of German extraction. She was physically a magnificent animal, with a man’s brain well stocked with general knowledge and a special comprehension of chemistry and pharmacy. She was at this time employed in the pathological laboratory of a famous doctor, but afterwards became managing chemist to a prominent firm of perfumery manufactures. I have said that she had a man’s brain, but despite every effort, there was still one dark corner in which her femininity had taken refuge and defied her to expel it. From time to time the garrison made a desperate sortie. At such moments her womanhood avenged itself savagely on her ambition. She was more frantically feminine than any avowed woman could possibly be. She was ruthlessly irrational. Such attacks were fortunately as short as they were severe, but unfortunately too often did irreparable damage.”
Crowley’s, description of a woman as having a man’s brain is as profound a compliment as is possible, coming from him. Perhaps he had figured it was the Animus of all women, who had originally forged his monotheistic focus.
As a sort of aside, Minor’s German origins conjures up an association with the musical, Cabaret, which is set in 1931 Berlin when the Thule society Nazis are rising to power, whose ominous presence surrounds the nightlife of a seedy Kit Kat Klub where Vril Society Witches to Sabbabt gather.
The story of Cabaret revolves around the ‘Serpent’ wise 19-year-old English cabaret performer Sally Bowles who, in the film version, wears fishnet stockings, corset and distinctive bowler hat.
The motif of the bowler hat, usually represents the perceived male domain of ‘Bear’ officialdom, where covert intelligence operatives hide within of an abode, such as the likes of a James Bond; wherefore the bowler hat symbolises Bowles male brain, of which Crowley spoke of in relation to Minor.
The symbolic motif of the Bear, in Siberian shamanism is a title given to a female shaman, being Udagan or Udyan, due to the Bear’s association with the cave and in turn that of the womb. The cave can be symbolically seen as a vaginal tunnel, one can then imaginatively equate with a Time Tunnel, via which a Steampunk H.G Well’s time machine, looking like an egg travels through, of Nikola Tesla ingenuity.
However, you can also see the Time Tunnel of similarity to a depiction in the classic 60’s science fiction TV series of the same name.
You could then imagine Balama as a witty secret agent, who travels through her vaginal Time Tunnel wearing a bowler, whose elemental weapon is a cloaking device of an umbrella.
Be that as it may of surrealist symbol crunching, it is said that another order of intelligence was brought into physical manifestation through a magickal portal of a Time Tunnel when Crowley and Minor had engaged themselves in Tantric sex Magick.
(A portal in this context is the inducement of hypnagogic trance, of which the [Bear woman] medium experiences, when to open up an inner Time Tunnel in the fabric of time and space.) This no doubt required Crowley to assume the Tantric guise of a Bull and a Ram, when to mount Minor as his medium.)
The entity, which manifested via Minor’s ecstatic trance of a vaginal Time Tunnel looked like the classic Grey entity of later UFO lore. Although, it could be otherwise seen to look like a ‘foetus.’
Crowley drew a picture of the entity; he stressed that it was actually drawn from real life. This entity either called itself ‘LAM,’ or was otherwise named ‘LAM’ by Crowley. Either way, he considered it to be of interdimensional origin, which of a the term can be otherwise described as being ultraterrestrial. While in communications with ‘LAM,’ the symbolism of the feminine ‘egg’ featured prominently.
One could conjecture that Crowley was symbolically alluding to Minor having a miscarriage, who then mythologized the whole sad affair. Whatever the case, Crowley included the portrait of ‘LAM’ in his ‘Dead Souls’ exhibition held in Greenwich Village, New York, in 1919.
In that same year the portrait of ‘LAM’ was published as a frontispiece labelled: The Way, which was Crowley’s commentary of Blavatsky’s The Voice of the Silence.
Beneath Crowley’s picture of ‘LAM’ is a following inscription: “LAM is the Tibetan word for Way or Path, and ‘LAMA’ is He who Goeth, the specific title of the Gods of Egypt, the Treader of the Path, of Buddhist phraseology. Its numerical value is 71, the number of this book.”
Other than this, there is no commentary extant from Crowley upon the subject of ‘LAM’ except for material published by his religious disciples, such as Kenneth Grant, and that of others, who have since associated ‘LAM’ with the UFO mystique of the extraterrestrial Grey aliens.
However, the Greys of a viral-meme icon, was ushered into public consciousness upon the back of the media machine during the 80’s, of a gathering focus upon Iraq when Whitley Strieber’s book, Communion was published, whose cover depicted a Grey; whereas prior, the primary focus was that of aftermath WWII 1940’s-50’s Nordic aliens, followed by Vietnam war 1960’s-70’s Asiatic humanoids.
Crowley’s foetal ‘LAM’ didn’t take centre stage, since the mass hypnosis media machine of America didn’t have the TV at its disposal, at the time; wherefore, the two-dimensional image of a ‘LAM’ foetus, did not become implanted into the collective unconscious of a three-dimensional dream entity.
As for Strieber’s Grey’s, he had associated them with the Sumerian/Babylonian Goddess Ishtar as well as equating them with raptors, such as Owls or Hawks. One could otherwise equate the Grey’s with the Egyptian concept of the (Hawk) ‘BA.’ You can then see the discarnate ‘BA’ as seeking to be (foetus) reborn; hence the symbolism of the egg.
Another perspective is that the ‘BA’ is emanating from a future point in time of coming descendants or even from the ancestral distant past, or both simultaneously, which is a (remote-viewing) LAM (Goshawk) time-traveller.
This journeying through time is being conducted at the lucid dreaming level, where ‘most precognitive phenomena’ occurs around the Zodiac wheel of ages.
You can thereby perceive a time-traveller of a BA-LAM-A emanating from the future ages of Taurus (Bull) and Aires (Ram).
For example, Balama, as a Succubus Art Muse archetype of the Fallen Anima will inspire erotic dreams of other times via her… vaginal Time Tunnel.
FAUSTUS CROW 