BAAL
MODERN REINTERPRETATIONS OF AN ANCIENT FIGURE
THROUGH THE LENS OF GOETIA,OLD AND MODERN
Toyin Adepoju
Image and primary text from Baela Shamanka in the Alternate All Female Goetia of Mark Dunn's Dakini Daemonicon at his cross-cultural Surrealist exposition of a magical technology and its associated cosmology at his Shaman Chaos Magick:Goetia Girls.
The first principal spirit is called Bael, Baeli or Baela, a great queen principally ruling in the Far East over the North-Central Asian Steppe into Siberia.
She manifests as a most ancient crone, a wizened female shaman, on account of which she is found bedecked in cat furs wearing a skirt of amphibious reptile skins. As a female shaman she formulates into vision living in a yurt, which appears to be alive, walking about on chicken legs, and which also flies like an interdimensional-time-trav
MODERN REINTERPRETATIONS OF AN ANCIENT FIGURE
THROUGH THE LENS OF GOETIA,OLD AND MODERN
Toyin Adepoju
Image and primary text from Baela Shamanka in the Alternate All Female Goetia of Mark Dunn's Dakini Daemonicon at his cross-cultural Surrealist exposition of a magical technology and its associated cosmology at his Shaman Chaos Magick:Goetia Girls.
The first principal spirit is called Bael, Baeli or Baela, a great queen principally ruling in the Far East over the North-Central Asian Steppe into Siberia.
She manifests as a most ancient crone, a wizened female shaman, on account of which she is found bedecked in cat furs wearing a skirt of amphibious reptile skins. As a female shaman she formulates into vision living in a yurt, which appears to be alive, walking about on chicken legs, and which also flies like an interdimensional-time-trav
elling vehicle akin to a discoid mushroom.
Baela sometimes appears as a sexually inclined Russian parapsychologist of feline predatory orientation versed in anthropology and having deep insights into psychology, which she relates within vivid erotic dreams after making love to her.
One will notice that she will sometimes sport the Communist Red-Star badge, which is really that of the ancient 'Fire-Star', which the ancient Mongolians and Chinese know represents the planet Mars. The hammer will thence represent the shaman-smith's power over explicate-ordered material form (alchemy) enabling mastery over fire (bio-photon) while the sickle symbolises the moon realm of implicate-ordered quantum dreaming. She will communicate that she is a professor at St Petersburg University, conducting experiments into metapsychic abilities, enabling her to bestow such powers.
Her nature is seductively feline, empowered by a wisdom intimately related to the Olkhon Rune jewel at the midst of the toad's head. She speaks with a deep seductive Russian accent but her original language is ancient Mongolian.
RED QUEEN BAELA OF 'THROUGH THE LOOKING GLASS' STARGATE
One could imaginatively associate Baela with the characters the Queen of Hearts in Lewis Carroll's fantasy classic Alice in Wonderland and the Red Queen in Caroll's Through the Looking Glass. One can then fuse both characters in the different books in terms of a shamanic union.
In Through the Looking-Glass the Red Queen demonstrates the symbolic motif of the game of chess which itself represents the game of life.
As a chess-queen she can move in any direction she desires, which in regards to Baella means she can walk worlds, for the chessboard represents the mathematical symbol of the marked-unmarked state operator, which allows one's consciousness to traverse microcosmic hyperspace via mini 'Looking-Glass' wormholes.
In both American McGee's popular computer game Alice and Tim Burton's film adaptation of the Alice books the Queens are also combined, leading thereby to further popular misconceptions. As for American McGee's Alice it does lead one to the trilogy of the Matrix films and that of a theory that one's very existence is merely that of a quantum computer simulation wherefore one is living within a holographic universe amidst many others in a multiverse. However, one will discover that the 'Wonderlands' of the quantum dream are very much like 'virtual-realities', which are the informing 'informational' fractal templates underlying one's 'physical' existence.
The evolutionary concept of the Red Queen's hypothesis originates from her statement about the 'Red Queen's race' : "Now, here, you see, it takes all the running you can do, to keep in the same place. If you want to get somewhere else, you must run at least twice as fast as that!" Her hypothesis has shamanic overtones for when one's consciousness trance-travels internally within the implicate-order of the quantum dream one is travelling without moving when utilising the theorem of the marked-unmarked-state operator for one is travelling faster than the speed of light.
As for the mirror that gives it names to Through the Looking-Glass one can equate its 'wormhole' function with the science fiction film Stargate. The Red Queen of a Mongolian shamaness Baela could thence be construed as being very much of an inspiring muse for a chess playing Red King of an 'Odqan' Chinngis Khan in order to thence become invincible in his military strategy, especially when conquering his own self to go quantum.
PRIMARY SOURCE IN CLASSICAL GOETIA
Of the seventy-two infernal spirits evoked and constrained by King Solomon
BAEL.--The First Principal Spirit is a King ruling in the East, called Bael. He maketh thee to go Invisible. He ruleth over 66 Legions of Infernal Spirits. He appeareth in divers shapes, sometimes like a Cat, sometimes like a Toad, and sometimes like a Man, and sometimes all these forms at once. He speaketh hoarsely.
This is his character which is used to be worn as a Lamen before him who calleth him forth, or else he will not do thee homage.
Rank: King
Degree: 1 - 10
Zodiac sign: Aries (day March 21 - March 30)
Tarot: Two of Wands
Alchemical sign: Sol - Gold
Bael is the First Principle Spirit, and a King ruling in the East. He can make the Magician invisible. He rules over 66 Legions of Infernal Spirits. At various times he appears in various forms such as a cat, a toad, a man, or all forms instantaneously. He speaks hoarsely. A.G.H.
BAAL IN ANCIENT SEMITIC ART
"Statuette of Baal, god of Ukarit; his right arm is raised. Bronze figurine, 14th-12th centuries BCE, found in Ras Shamra (ancient Ugarit)."
BAAL
A PLAY BY BERTOLT BRECHT
1.Baal was the first full-length play written by the German modernist playwright Bertolt Brecht.] It concerns a wastrel youth who becomes involved in several sexual affairs and at least one murder. It was written in 1918, when Brecht was a 20-year-old student at Munich University, in response to the expressionist drama The Loner (Der Einsame) by the soon-to-become-Nazi dramatist Hanns Johst.
The play is written in a form of heightened prose and includes four songs and an introductory choral hymn ("Hymn of Baal the Great"), set to melodies composed by Brecht himself.[1] Brecht wrote it prior to developing the dramaturgical techniques of epic theatre that characterize his later work, although he did re-work the play in 1926.
Wikipedia
2.BAAL by Bertolt Brecht Opens Yale School of Drama 2007-08 Season
"Those Days of Sixties"
photo by Jan Saudek
Director, Snehal Desai
photo by Erik Pearson
OCTOBER 29-NOVEMBER 3
Bertolt Brecht's Baal opens the 2007-2008 Yale School of Drama series (James Bundy, Dean; Victoria Nolan, Deputy Dean) October 29 through November 3, 2007.
Brecht's first play (1918), Baal is the story of a poet's unquenchable sexual desire, unspeakable violence, and unmatched lyricism. Baal's journey of desire and self-destruction begins in his favorite watering hole where he attracts and repels patrons, friends, and lovers.
As directed by Snehal Desai, this visceral and raucous production includes drag performances, live music, and full dance numbers. The New Haven band The Simple Pleasure (thesimplepleasure.com) has filled in the long lost gaps between Brecht's written ballads and his music with electrifying synth-pop rock numbers. The audience will be seated amid the spectacle, on stage, at cabaret tables, and on bar stools at a bar.
http://drama.yale.edu/news/baal.html
COMMENTARY ON MARK DUNN'S VERBAL TEXT
This piece by Dunn is a part of his effort effort to present a unified picture of aspects of Western esotericism in relation to the Goetia,in terms of links between Western esotercism with pre-historic spiritualities of Asia as it borders Europe.
The imaginative originality of the Alice in Wonderland and the Through the Looking Glass metaphors as used here is central to this poetic passage by Mark Dunn in his Dakini Daemonicon.This metaphor both introduces and sums up a central aspect of the ideational and visual world developed in the Dakini Daemonicon: the idea of the universe as a vast,dynamic structure of multiple,co-existent possibilities navigated through awareness of these possibilities and with the aid of congress with the Goetic daemons,among other options;the chess game of the Alice book being seen as metaphorical for this dynamic structure and the looking glass being evocative of the doorways of consciousness and opportunity that enable the awareness of and the appropriation of such multiple possibilities of existence.This idea is also summed up in the image of the Ouroboros,where the snake swallowing its own tail comes to symbolise time as dynamic in a non-linear sense rather than linear,thereby transposing the Ouroboros image from the central symbol of Goetic invocation in terms of an imaginative reinterpretation that includes and goes beyond the traditional conception.
The value of opening the Dakini Daemonicon with the Alice metaphors is reinforced by the fact that the metaphor unifies the Dakini Daemonicon in terms of the recurrence of the Alice texts as well as the presence of young girls at various points in the Daemonicon,girls identifiable with the image of Alice.
Also blogged at MarkDunnCosmos:Goetic Personifications
Baela sometimes appears as a sexually inclined Russian parapsychologist of feline predatory orientation versed in anthropology and having deep insights into psychology, which she relates within vivid erotic dreams after making love to her.
One will notice that she will sometimes sport the Communist Red-Star badge, which is really that of the ancient 'Fire-Star', which the ancient Mongolians and Chinese know represents the planet Mars. The hammer will thence represent the shaman-smith's power over explicate-ordered material form (alchemy) enabling mastery over fire (bio-photon) while the sickle symbolises the moon realm of implicate-ordered quantum dreaming. She will communicate that she is a professor at St Petersburg University, conducting experiments into metapsychic abilities, enabling her to bestow such powers.
Her nature is seductively feline, empowered by a wisdom intimately related to the Olkhon Rune jewel at the midst of the toad's head. She speaks with a deep seductive Russian accent but her original language is ancient Mongolian.
RED QUEEN BAELA OF 'THROUGH THE LOOKING GLASS' STARGATE
One could imaginatively associate Baela with the characters the Queen of Hearts in Lewis Carroll's fantasy classic Alice in Wonderland and the Red Queen in Caroll's Through the Looking Glass. One can then fuse both characters in the different books in terms of a shamanic union.
In Through the Looking-Glass the Red Queen demonstrates the symbolic motif of the game of chess which itself represents the game of life.
As a chess-queen she can move in any direction she desires, which in regards to Baella means she can walk worlds, for the chessboard represents the mathematical symbol of the marked-unmarked state operator, which allows one's consciousness to traverse microcosmic hyperspace via mini 'Looking-Glass' wormholes.
In both American McGee's popular computer game Alice and Tim Burton's film adaptation of the Alice books the Queens are also combined, leading thereby to further popular misconceptions. As for American McGee's Alice it does lead one to the trilogy of the Matrix films and that of a theory that one's very existence is merely that of a quantum computer simulation wherefore one is living within a holographic universe amidst many others in a multiverse. However, one will discover that the 'Wonderlands' of the quantum dream are very much like 'virtual-realities', which are the informing 'informational' fractal templates underlying one's 'physical' existence.
The evolutionary concept of the Red Queen's hypothesis originates from her statement about the 'Red Queen's race' : "Now, here, you see, it takes all the running you can do, to keep in the same place. If you want to get somewhere else, you must run at least twice as fast as that!" Her hypothesis has shamanic overtones for when one's consciousness trance-travels internally within the implicate-order of the quantum dream one is travelling without moving when utilising the theorem of the marked-unmarked-state operator for one is travelling faster than the speed of light.
As for the mirror that gives it names to Through the Looking-Glass one can equate its 'wormhole' function with the science fiction film Stargate. The Red Queen of a Mongolian shamaness Baela could thence be construed as being very much of an inspiring muse for a chess playing Red King of an 'Odqan' Chinngis Khan in order to thence become invincible in his military strategy, especially when conquering his own self to go quantum.
PRIMARY SOURCE IN CLASSICAL GOETIA
Of the seventy-two infernal spirits evoked and constrained by King Solomon
BAEL.--The First Principal Spirit is a King ruling in the East, called Bael. He maketh thee to go Invisible. He ruleth over 66 Legions of Infernal Spirits. He appeareth in divers shapes, sometimes like a Cat, sometimes like a Toad, and sometimes like a Man, and sometimes all these forms at once. He speaketh hoarsely.
This is his character which is used to be worn as a Lamen before him who calleth him forth, or else he will not do thee homage.
Rank: King
Degree: 1 - 10
Zodiac sign: Aries (day March 21 - March 30)
Tarot: Two of Wands
Alchemical sign: Sol - Gold
Bael is the First Principle Spirit, and a King ruling in the East. He can make the Magician invisible. He rules over 66 Legions of Infernal Spirits. At various times he appears in various forms such as a cat, a toad, a man, or all forms instantaneously. He speaks hoarsely. A.G.H.
BAAL IN ANCIENT SEMITIC ART
"Statuette of Baal, god of Ukarit; his right arm is raised. Bronze figurine, 14th-12th centuries BCE, found in Ras Shamra (ancient Ugarit)."
BAAL
A PLAY BY BERTOLT BRECHT
1.Baal was the first full-length play written by the German modernist playwright Bertolt Brecht.] It concerns a wastrel youth who becomes involved in several sexual affairs and at least one murder. It was written in 1918, when Brecht was a 20-year-old student at Munich University, in response to the expressionist drama The Loner (Der Einsame) by the soon-to-become-Nazi dramatist Hanns Johst.
The play is written in a form of heightened prose and includes four songs and an introductory choral hymn ("Hymn of Baal the Great"), set to melodies composed by Brecht himself.[1] Brecht wrote it prior to developing the dramaturgical techniques of epic theatre that characterize his later work, although he did re-work the play in 1926.
Wikipedia
2.BAAL by Bertolt Brecht Opens Yale School of Drama 2007-08 Season
"Those Days of Sixties"
photo by Jan Saudek
Director, Snehal Desai
photo by Erik Pearson
OCTOBER 29-NOVEMBER 3
Bertolt Brecht's Baal opens the 2007-2008 Yale School of Drama series (James Bundy, Dean; Victoria Nolan, Deputy Dean) October 29 through November 3, 2007.
Brecht's first play (1918), Baal is the story of a poet's unquenchable sexual desire, unspeakable violence, and unmatched lyricism. Baal's journey of desire and self-destruction begins in his favorite watering hole where he attracts and repels patrons, friends, and lovers.
As directed by Snehal Desai, this visceral and raucous production includes drag performances, live music, and full dance numbers. The New Haven band The Simple Pleasure (thesimplepleasure.com) has filled in the long lost gaps between Brecht's written ballads and his music with electrifying synth-pop rock numbers. The audience will be seated amid the spectacle, on stage, at cabaret tables, and on bar stools at a bar.
http://drama.yale.edu/news/baal.html
COMMENTARY ON MARK DUNN'S VERBAL TEXT
This piece by Dunn is a part of his effort effort to present a unified picture of aspects of Western esotericism in relation to the Goetia,in terms of links between Western esotercism with pre-historic spiritualities of Asia as it borders Europe.
The imaginative originality of the Alice in Wonderland and the Through the Looking Glass metaphors as used here is central to this poetic passage by Mark Dunn in his Dakini Daemonicon.This metaphor both introduces and sums up a central aspect of the ideational and visual world developed in the Dakini Daemonicon: the idea of the universe as a vast,dynamic structure of multiple,co-existent possibilities navigated through awareness of these possibilities and with the aid of congress with the Goetic daemons,among other options;the chess game of the Alice book being seen as metaphorical for this dynamic structure and the looking glass being evocative of the doorways of consciousness and opportunity that enable the awareness of and the appropriation of such multiple possibilities of existence.This idea is also summed up in the image of the Ouroboros,where the snake swallowing its own tail comes to symbolise time as dynamic in a non-linear sense rather than linear,thereby transposing the Ouroboros image from the central symbol of Goetic invocation in terms of an imaginative reinterpretation that includes and goes beyond the traditional conception.
The value of opening the Dakini Daemonicon with the Alice metaphors is reinforced by the fact that the metaphor unifies the Dakini Daemonicon in terms of the recurrence of the Alice texts as well as the presence of young girls at various points in the Daemonicon,girls identifiable with the image of Alice.
Also blogged at MarkDunnCosmos:Goetic Personifications
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