Archive for shaman drum

SHAMAN TRANCE TARDIS HORSE DRUM

Posted in Art, Chaos Magic, Dr Who, Goetia Girls, Love Magic, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Tarot, Time Travel, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on March 29, 2017 by FAUSTUS CROW

The Artwork depicts a Siberian shaman drum. The drum in Siberian shamanism, in particular, is symbolised as being the trance horse the shaman rides into an ecstatic state of consciousness. The motif of the horse is often symbolised as being an eight-legged Mare. 

The eight-legs of the Mare represent the eight cardinal directions, which are also associated with the eight points of a ‘cube.’ Hence in the Tarot card of the ‘horned’ Devil XV, which depicts a demonised ‘horned’ shaman, he is traditionally depicted seated upon a ‘cube,’ you could imaginatively associate with the TARDIS of Doctor Who, since the shaman saw the drum as a macrocosmic tool, that empowers his microcosmic trance ingress into other (inner) realities.

At the centre of the ‘cube,’ and at the centre of the eight cardinal directions you have a ninth point. Whereby the eight-legged Mare was also associated with the world tree interlinking nine (worlds) states of consciousness, which of a symbolic formula was painted upon the drum skin. 

The eight-legged-Mare is also a fusion of two horses, representing the two nerve channels running along either side of the spinal (world tree) column. These two (horses) nerve channels belong to the Autonomic-Nervous-System. When these two (horses) nerve-channels are brought into balance via meditative (hypnotic) drumming, the two horses become fused, as the eight-legged-Mare, which activates the central-nerve channel of the Central-Nervous-System running along the centre of the spinal (world tree) column.

When the central-nerve channel is activated, the shaman will experience the arousal of what is known to the Yoga practitioner as the Kundalini-Shakti, along his spinal (world tree) column. The Kundalini Shakti is considered to be the life-force, which is experienced as being a liquid (fire) light, whose ‘quintessence’ is intuitively felt to have a feminine  (Anima Mundi) source. The Kundalini Shakti may be an intuitive description of the bio-photon, emanating from the Mitochondrial DNA, which is passed down from the mother to her children.

Whereupon the eight-legged Mare is seen to be the (female-centaur) animal form of a Spirit Wife, who manifests as a shape-shifting human (Anima) female within visionary states and bio-photon illuminated lucid dreams, a Surrealist Artist would call an Art MuseIf you are interested in an Art print or the shirt design, etc, Check Out my Redbubble shop, Please Click Here.  

Those of a Westernised temperament will probably find that the symbolism employed by a shaman is a bit too much to swallow, concerning his/her trance tool of a (genie bottle) drum. In order to further clarify what the shamanic symbolism of the drum is communicating in regards to hypnagogic trance induction, which is none too dissimilar to inducing a state of self-hypnosis, find below an excerpt from a research paper:

“Scientific research has determined that drumming patterns are associated with different brain wave activity, as measured by cortical EEG. The research was conducted, to determine if the subjective experience of percussion in general, and rhythmic drumming in particular, would elicit (inner) images or (internal) sensations with a common (symbolic) theme.

Twelve participants were divided into three groups and monitored for EEG frequency response to three separate drumming tapes. These tapes included: Shamanic Drumming, at approximately 4 to 4 1/2 beats per second; I Ching Drumming, at approximately 3 to 4 beats per second; and Free Drumming, which incorporates no sustained rhythmic pattern. Four cortical sites, bilateral parieto-temporal and parieto-central areas, were monitored for each participant during three sessions. At the conclusion of the sessions, each participant prepared a brief written account and was given a tape-recorded interview of his or her subjective experience. These subjective experiences were then categorized according to recurring themes and consensual topics.

This research supports the theories that suggest that the use of the drum by indigenous (shamanic) cultures in ritual and ceremony has specific neurophysiological effects and the ability to elicit temporary changes in brain wave activity, and thereby facilitates (Triangle Of Art Imagination) imagery and possible entry into an ASC (altered state of consciousness – active imagination of varying visionary intensities), especially the SSC (shamanic state of consciousness – hypnagogic trance/ecstasy).

Drumming in general, and rhythmic drumming in particular, often induces (inner) imagery that is ceremonial and ritualistic in content (depending on setting) and is an effective tool for entering into a non-ordinary or altered state of consciousness (ASC – active imagination) even when it is extracted from cultural ritual, ceremony, and intent. 

The drumming also elicits subjective experiences and images with common themes. These include: loss of time continuum; movement sensations, including pressure on or expansion of various parts of the body and body image distortion, “energy waves,” and sensations of flying, spiraling, dancing, running, etc.; feelings of being energized, relaxed, sharp and clear, hot, cold, and in physical, mental, and/or emotional discomfort. 

Emotions, ranging from reverie to rage; vivid images of natives, animals, people, and landscapes; and non-ordinary or altered states of consciousness (ASC – active imagination), whereby one is conscious of the fact that there has been a qualitative shift in mental functioning., including the shamanic state of consciousness (SSC –hypnagogic [the Phase] trance) journeys, out-of body experiences (OBEs), and visitations. 
A pattern that incorporates approximately 4 to 4 1/2 beats per second is the most inducing for ‘Theta’ gain. (Theta frequency is usually associated with drowsy, near-unconscious states, such as the [hypnagogic trance] threshold period just before waking or sleeping. This (acoustic/‘music’) frequency has also been connected to [creative – ‘Muse’] states of “reverie” and [The Phasehypnogogic dream-like images.)

The pattern of the drumbeat as it relates to beats per second can be correlated with resulting temporary changes in brain wave frequency (cycles per second) and/or subjective experience, provided the drumming pattern is sustained for at least 13-15 minutes.(NOTE: The Theta brainwave is depicted in the design.)

NOTE: The excerpt of the research paper, was adapted with notations, from a ‘Presentation Abstract’ by Melinda Maxfield, Ph.D. for the Stanford University Centre For Computer Research In Music And Acoustics (CCRMA).

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SHAMAN SPIRIT DRUM LUCID DREAMING

Posted in Art, Chaos Magic, Goetia Girls, Love Magic, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on March 27, 2017 by FAUSTUS CROW

The Artwork depicts a Yakut Shaman, whose trance drum is symbolically seen to be the genie bottle abode of the his Spirit Wife, who visits him within his lucid dreams.

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The European classification of the Spirit Wife is usually based upon a medieval perception, which considers the Spirit Wife to be a demonic entity, called a Succubus.

Western psychology, during the Soviet era, once considered the Spirit Wife complex of Siberian shamanism and that of other shamanic cultures to be a mental aberration, or that of fantasy prone individuals indulging themselves in erotic delusions. However, the psychologist Carl Jung otherwise saw the Spirit Wife/Succubus as being an archetypal aspect of the ‘Anima.’

Jung saw the feminine archetype of the ‘Anima’ as being the personified intermediary with the psychic powerhouse of the subconscious, whose myriad female forms are encountered within ‘lucid’ dreams, from whom a Shaman derives his psychic abilities, an Artist is inspired by as his Art Muses.

The motif of the Spirit Wife is known to the Yoga practitioner as Shakti, whose numerous feminine aspects are called Dakinis, which is also very much part of Tibetan Buddhist dream Yoga practices as well as Siberian shamanism.

For example, the Goldi tribe of Siberia clearly distinguish between a female tutelary spirit, known as an Ayami, which in Western occult practice is of similarity to the (HGA) Holy Guardian Angel, (Jung would also see the HGA as being the ‘Anima,’) who chooses the shaman.

Whereas the helping spirits, (Jung would see as being the myriad aspects of the ‘Anima’) the Goldi call Syven, an occultist would call (Succubae/Succubi) Demons, which are subordinate to the Ayami. The Syven are granted to the Shaman by the Ayami herself. The Altaic name, Ayami means, ‘Silk Twisted In Beauty,’ as in a horse’s mane. The Siberian shaman in particular sees the drum as his Mare, who too is his Spirit Wife, whom he trance rides as an eight-legged female centaur into conscious dreaming.

According to the ethnologist and anthropologist, Leo Sternberg, the Goldi explain the relations between the Shaman and his Ayami by a complex sexual emotion. Below is an experience related by a Goldi shaman:

“Once I was asleep on my sick-bed, when a spirit approached me. It was a very beautiful woman. Her figure was very slight, she was no more than half an arshin (71 cm.) tall. Her face and attire were quite as those of one of our Gold women.

Her hair fell down to her shoulders in short black tresses. Other shamans say they have had the vision of a woman with one half of her face black, and the other half red. She said: ‘I am the “Ayami” of your ancestors, the Shamans. I taught them shamaning. Now I am going to teach you. The old shamans have died off, and there is no one to heal people. You are to become a shaman.’

Next she said: “I love you, I have no husband now, you will be my husband and I shall be a wife unto you. I shall give you assistant spirits. You are to heal with their aid, and I shall teach and help you myself. Food will come to us from the people.”

I felt dismayed and tried to resist. Then she said, “If you will not obey me, so much the worse for you. I shall kill you.”

She has been coming to me ever since, and I sleep with her as with my own wife, but we have no children. She lives quite by herself without any relatives in a hut, on a mountain, but she often changes her abode. . . . Sometimes she comes under the aspect of an old woman, and sometimes under that of a wolf, so she is terrible to look at.

Sometimes she comes as a winged tiger. I mount it and she takes me to show me different countries. I have seen mountains, where only old men and women live, and Villages, where you see nothing but young people, men and women: they look like Golds and speak Goldish, sometimes those people are turned into tigers.

Now my ‘Ayami’ does not come to me as frequently as before. Formerly, when teaching me, she used to come every night.’

She has given me three assistants-the ‘Jarga’ (the Panther), the ‘Doonto (the Bear) and the ‘Amba’ (the Tiger).

They come to me in my dreams, and appear whenever I summon them while shamanising. 

If one of them refuses to come, the ‘Ayami’ makes them obey, but, they say, there are some who do not obey even the ‘Ayami.’ When I am shamaning, the ‘Ayami’ and the assistant spirits are possessing me; whether big or small, they penetrate me, as smoke or vapour would.

When the ‘Ayami’ is within me, it is she who speaks through my mouth, and she does everything herself.

When I am eating the ‘Sukdu’ (the offerings) and drinking pig’s blood (the blood of pigs is drunk by shamans alone, lay people are forbidden to touch it), it is not I who eat and drink, it is my ‘Ayami’ alone.”

NOTE: The quoted material concerning the Ayami is derived from: Mircea Eliade, Shamanism, op. cit., PP. 72-3, quoting Leo Sternberg, ‘Divine Election in Primitive Religion’ (1924), PP. 476 ff. cf.. Shamanism, PP. 42l ff., for autobiographies of South-Indian Savara male shamans and female shamans, whose marriages to (Anima – Animus) spirits are in striking parallel to the documents collected by Sternberg.

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SHAMAN DRUM SIBERIAN TRANCE

Posted in Art, Chaos Magic, Goetia Girls, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Time Travel, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on March 22, 2017 by FAUSTUS CROW

The design features a Finno-Ugric Siberian shaman. The word Shaman originates from Siberia, which is said to be derived from the Evenki word “šamán,” most likely from the South-Western dialect spoken by the Sym Evenki peoples. If you are interested in the Art pint, shirt design, etc, Check Out my Redbubble shop, Please Click Here.

The Tungusic term, Shaman, was subsequently adopted by Russian explorers interacting with the indigenous peoples in Siberia. The word, Shaman can also be found in the memoirs of the exiled Russian churchman Avvakum.

The term Shaman has since been adopted by anthropologists as a coverall term for numerous other cultures who share similar shamanic techniques, which enable a practitioner to alter his/her (brain wave) states of consciousness.

The Siberian shaman in particular utilises the drum. The drum is often referred to as being an eight-legged-mare; which is in turn is associated with the abode of a (Anima emanation) Spirit Wife, somewhat like a genie in her (drum) bottle. In other words, the drum, Mare and Spirit Wife are seen to be the same. (The Eight legs of the Mare, being the eight compass directions of a symbol painted upon the skin of the drum, which is also associated with the motif of the World Tree.)

 

The shamanic motif of the Mare and the Spirit Wife leads to the term ‘Nightmare,’ which originally referred to the Old-Hag Syndrome.

The Old Hag Syndrome is otherwise known as the Bedroom Invader Experience, which is experienced when an individual inadvertently accesses hypnagogic trance.

An unprepared individual will invariably become terrified when accessing hypnagogic trance, wherein he/she will experience the manifestations of his/her deepest fears, which often involves sexual scenarios.

Whereupon the term, Old-Hag Syndrome refers to the visitation of a Succubus, whose initial manifestation is nightmarish, which induces the experience of intense pressure upon the body, the sensation of being (Sphinx) strangled, sleep paralysis, vivid hallucinations, and eventual lucid dreams.

Wherein an individual will feel as if he is being abducted by otherworldly (Alien) entities as well as experiencing out of body experiences.

The Shaman learns to control his fear, in order to ride the (inner TARDIS) ‘Night-Mare,’ rather than being ridden by her.

Whereupon she becomes his (Ally) Spirit Wife; hence the carved (World Tree/Axis-Mundi) handle of the Shamans (Mare) drum in the design, which represents his (trance) Spirit (Anima-Mundi) Wife.

(NOTE: The Mare/drum [trance symbol and tool] is seen to be tethered to the World Tree, which symbolically represents the spinal column of the Shaman. The Spirit Wife refers to what Yoga practitioners call the Kundalini Shakti, which is experienced as a liquid energy that is aroused to arise along the (World Tree) spinal column. the Kalahari Bushmen of South Africa call this inner energy, Num, which is aroused when a practitioner accesses hypnagogic trance, which the Bushmen call, Kia. In ‘trance dance’ culture of the [Rave] dance clubs, this inner energy is known as ‘The Rush!’)

 

The monotonous beat of the drum stimulates the Theta brain wave, which induces hypnagogic trance. The experience of hypnagogic trance is basically hypnotic induction.

The Theta brain wave is also associated with anxiety reduction, the active (day dreaming) imagination, lucid dreams and Zen meditative states.

Shaman Drum Siberian Trance by MARDUN

The Theta brain wave is depicted in the design, which is also known as the hyper-suggestible state.

The inducement of the Theta brainwave allows for mental programming via the use of repetitive Mantas, such as the ecstatic songs (and trance dancing) of a shaman are effective at dispersing fear states, when sung in conjunction with the (Spirit Wife/Mare/Pony-Girl) drum.

Shaman Drum Siberian Trance by MARDUN

The above Art and information is covered in my Art books, ‘Goetia Girls,’ which are available from Createspace and Amazon, under my author’s name, Faustus Crow.

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SUCCUBUS EVOCATION OF THE DR WHO GOETIA GIRL, OROBAS

Posted in Art, Chaos Magic, Dr Who, Goetia Girls, Goth Girls, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Time Travel, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on December 15, 2014 by FAUSTUS CROW

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Dr John C. Lilly of ‘Altered States’ fame, out of body ‘rode’ the mathematical symbol of the Brownian Operator as if it was a ‘Horse,’ while within an altered state of consciousness.

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Lilly’s psychonaut journey into inner space could be construed as being a vivid lucid dream:

“My consciousness was placed inside the right angle of the large inverted capital ‘L’ as it was written, as if it was a ‘vehicle.’ This is a rather dangerous procedure. This meant that I was identified with the marked state, i.e. I existed. I was now riding the marked state as if it was a ‘vehicle,’ but at the same time, I was the marked state.

This means I was the consciousness, the signal that was being fed through the marked state outside myself. As soon as this happened, I transited explosively into the void. My consciousness was still intact, but there was no universe at all. I suddenly realised that this was the first step in the infinite series of marked state, unmarked state, unmarked state and so forth. So my consciousness then reassembled a marked state, got into the right angle and came out in another domain, i.e. came out in a new marked state.”

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Lilly experienced journeying from one universe into another within his lucid dream, when to have ridden the Brownian Operator, which of an inverted ‘L’ is none too dissimilar to the symbol of a Horse head.

Ancient shamans had their prior version of the Brownian Operator, which was otherwise symbolised as an eight-legged Mare to trance ‘ride’ into other worlds from within their lucid dreams.

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This technique also enabled a shaman to travel through time; whence acquiring retrocognitive and precognitive abilities; whereby the shaman horse can be symbolically equated with a Time Machine, such as Dr Who’s TARDIS.

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In the grimoire of the Goetia, the Succubus called Orobas, whom emanates from the fourth dimensional planetary sphere initially appears as a small Mare, amidst the triangle of art imagination of a sorcerer, before assuming human form. After she has been conjured via intense active imagination exercises, she will then initiate lucid dream time travel experiences, when her symbol of the Mare is recognised within the dream.

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The symbolism of the shaman Horse of trance is very much tied up with the term Nightmare. The word Nightmare was originally derived from a night terror, whose technical term is the Old Hag Syndrome, which is otherwise known as the Bedroom Invader Experience. The Old Hag refers to an invisible presence of an entity, which leaps upon an individual at the point of sleep. The individual experiencing this phenomena will experience great pressure being brought to bare upon their body, whom is unable to move.

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The inability to move is that of sleep paralysis, which is experienced at the point of consciously accessing ‘hypnagogic trance’ ingress into the dream. The experience can be quite terrifying for the unprepared. Shamans overcome the Nightmare by transforming it into a ‘Mare’ of the ‘Night’ to otherwise ‘ride’ rather than being ‘ridden’ by it.

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For a heterosexual male practitioner, this was achieved by introverting the sexual impulse, by prior focusing upon the visiting entity as being a Succubus; wherefore negating their fear; for it is their fear, which determines what form the entity assumes. By transforming the fear into another potent emotion, the entity then takes on another form. Whereby the entity becomes the shamans familiar, which will empower the shaman to attain an out of body experience, whom will then carry him into other realities as his ‘Mare’ to ‘Night’ ride.

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How do I know this? I have experienced it for myself; whether you believe me or not as the case may be; I really do not care.

(Music used in the Video, by: Partners In Rhyme.)

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GOETIA GIRL BAEL, SUCCUBUS WITCH QUEEN SHAMAN OF SIBERIA

Posted in Chaos Magic, Extraterrestrial, Goetia Girls, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Time Travel, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on November 20, 2014 by FAUSTUS CROW

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The First Principal Succubus is called Bael, who be a shaman Queen ruling in the far East across the steppe, under the fire star of the Mongol’s, whom emanates from the sixth dimensional planetary sphere. She enables her master to go about Invisible. She rules over sixty-six Legions of Infernal Succubae. She appears of triangle of art vision in divers shapes, sometimes like a Cat, or as a Toad; at other times like a most beautiful Siberian woman, or all these forms at once to otherwise call Baela.

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She speaks clairaudient of most seductive tone, concerning those psychic secrets behind her Iron Curtain of a hypnagogic hymen veil to pentrate.

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Behind her Iron Curtain, the ancestral shamans therein to have psychic abilities, the one time Soviet sought to weaponise, whom frequented the steppe unto Siberia. Her seal is to be mediated upon, and to visualise before calling her forth, or else she will not do thee homage.

It is usually said of commonality that the name Bael is derived from the Canaanite deity known as Baal (/ˈbeɪl/ BAYL; sometimes spelled Bael, Baël [French], Baell), who is mentioned in the patriarchal Hebrew Bible as the primary god of the Phoenicians.

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In the 17th Century Goetic occult writings, Bael is seen as one of the first spirits, which was released from Solomon’s brazen vessel of a Genie bottle.

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While his Semitic predecessor was depicted as a horned man or a horned bull, this spirit, Baal of the traditional grimoire tradition is said to appear in the forms of a Human, Cat and Toad, or combinations thereof. An illustration in Collin de Plancy’s 1818 book Dictionnaire Infernal rather curiously placed the heads of the these three creatures onto a set of ‘Spider’ legs.

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When to totally ignore the indoctrinated perspective of Biblical lore to otherwise look Into the ancient shaman legends of Siberia, such as those of the Buryat, you will find the first shaman called Khara-Gyrgän.

The Buryat relate that Khara-Gyrgän declared that his power was boundless; wherefore the creator put him to the test. The creator sadistically took the soul of a (Bael) girl and ‘bound her up within a bottle.’

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To make sure that she wouldn’t escape, the creator put its finger into the neck of the bottle.

The shaman set about freeing the soul of the girl by beating the trance drum in order to conjure up his eight-legged night-Mare pony-girl Succubus to ride through inner space, somewhat like that of a prior Dr Who piloting his TARDIS.

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He soon discovered the whereabouts of the girl’s soul in order to free her. Khara-Gyrgän shapeshifted into the form of a ‘Spider’ and in doing so stung the face of the creator. The creator took its finger out of the ‘bottle,’ whence the girl’s soul escaped. The creator was very furious that its creation had passed the test, which indicated that the creator could be in time surpassed, so it decided to curtail the shamanic power of Khara-Gyrgän, after which the magical powers of the shamans were severely diminished.

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According to Yakut shamanic legends of similarity to the Buryat, the first shaman refused to recognise the superiority of the programming creator due to its sadistic temperament.

The Yakut legend relates that the body of the first shaman was made up of a mass of snakes, which you can otherwise see as serpentine DNA of an inner program. The creator was fearful that the shaman would become far too powerful, so it sent down a fire to burn him and his world.

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But in the ensuing conflagration of an ancient world-wide catastrophe, when a comet struck the Earth, an amphibious Toad escaped the inferno.

From the body of the Toad erupted forth the serpentine (DNA) spirits of the future Yakut shamans, who trace their genetic lineage back to the first shaman.

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The motif of the amphibious ‘Toad’ refers to hypnagogic trance, which is attained at the midpoint between waking (land/macrocosmic) and (water/microcosmic) sleeping; this ability enables a shaman to access the underlying informational (microcosmic) order of his (macrocosmic) Maya simulation reality.

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The symbolic motif of the Toad is associated with similar reptilian symbolism to that of the ‘amphibious’ Nommo of the South African tribe of the Dogon and that of the Sumerian Annunaki, along with the reptilian motifs of other cultures across the globe, including Dragons. Some will see the Toad and that of the Snake or Dragon as being a Zecharia Sitchin reference to demonic reptilian extraterrestrials of David Icke tales; such is ‘not the case’ at all, the symbolism actually refers to shamanic ‘trance adepts.’

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You also have the symbolism of the Cat, which is very often tied up with the feminine principle. There are many a Goddess from varying cultural myths who are described being in the company of Cats, riding them or otherwise assuming their predatory forms; whether they be Lionesses, Tigers or domesticated Cats, etc; such as the Sumerian Goddess, Ishtar riding a Lioness, the Hindu Goddess Durga, riding a Tiger or that of the Norse Goddess Freyja being the Witch mistress of Cats.

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The motif of the (Sphinx) Cat refers to what is termed as the Bedroom Invader Experience or Old Hag Syndrome, which is often experienced at the point of (Toad) hypnagogic trance ingress into the dream; it is when a shaman is visited by his female spirit lover of a Succubus, whose nature is seen to be predatory; hence she is associated with a Cat, which has since become that of a Witches familiar.

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Siberian shamans often relate that their shamanic powers and abilities are derived from the internal dream congress with Succubae Spirit-Wives, who are considered to be female shamans of similarity to the Hindu/Buddhist female entities called Dakinis.

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You can otherwise term these Succubae shamans as being Witches, whom initially manifest as Bedroom Invader ‘Cats’ at the point of hypnagogic ‘Toad’ ingress into the ‘Feminine’ domain of the dream. Wherefore the seal of Bael, which depicts a Toad, represents a symbolic formula of shamanic trance ingress into the watery amniotic realm of the electron dream.

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