Liberation Magic

The meeting of Light and Dark (Abandoned Rail Tunnel, Donner Pass, CA) Photo by Syren
Photo by Syren

Welcome to the third monthly column of Liberation Magic! The goal of this column is to build a network of practitioners who are turning their energy towards the fight against capitalism and to honor the diversity of practice within our communities. To that end, this month we welcome a contribution from Alan Evans.

If you would like to catch up on the initial foundational work it can be found here. As discussed there, in the future this work will include both cursework and healing work, both of which are optional. You can find the explanation of and resources justifying this decision at the link above.

If you would like to offer a contribution to this work, leave a comment and I’ll be in touch!

Le Domaine Sanitaire
By Alan Evans

This partitioning is my own formulation and came about as the result of being asked for a favor by a friend who themselves were doing a favor. While the favor doing was abruptly called off by all in the name of abiding by our gut instinct, I kept the results of my side of things and share it with you today as a way of conflating a third step to Syren’s Liberation Magic series’ foundations ‘Spirits of the Land’ and ‘Symbols of Capitalism’. The thought process behind this was fairly simple: location, location. You won’t catch a surgeon performing surgery in a landfill nor a general fighting a battle (willingly) on a battle field where they have no advantages; so why should you magically assault the fabric of modern society in a space which does not achieve both of these things. While I didn’t have these things in mind when I formulated it, the principles of conception were quintessentially the same. The phrase ‘cordon sanitaire’ itself, though originally French, is used almost exclusively in English to mean a boundary which separates two areas, one which is safe/clean/sanitary/unpolluted from one which is not; the change to Le Domaine Sanitaire is both literary-poetic license and functional in nature.

Le Domaine Sanitaire

Le Domaine Sanitaire is the process and results thereof by which one crafts a certain number of nodes to then be arranged geometrically in any pleasing formation that allows for an uninterrupted span between each individual node; most basic examples include such two dimensional shapes as triangles, squares and hexagons. In so far as ensuring there exists an uninterrupted span between each node from which the geometry’s structure is formed, possible arrangements are unrestricted in terms of dimension and formation; the only limitation being space one has available and the manner in which one is able to establish Le Domaine Sanitaire: a cube, three dimensional in nature, will be more complex to properly establish than a square, by way of example. The function of this domain is to provide the practitioner with a pristine area within which to undertake their workings; within Le Domaine the only admixing energies present should be those which the practitioner entreats within.

When established adequately, Le Domaine Sanitaire permits the movement of energies from its exterior to its interior only when conveyed by its architect; bring to mind the image of a cell wall, permitting the osmosis of only those elements which it deems beneficial. In this instance, the architect serves as the role of osmosis while Le Domaine represents the cell wall and all tools, energies, denizens; materials et cetera are the elements in question. Presently, within Le Domain, the practitioner shall be able to convoke and amalgamate with a far greater adroitness than would be possible sans Le Domaine Sanitaire.

Once a certain number of nodes have been crafted they may be used in any configuration you desire however, a set is a set and best left as a set; craft six nodes, use six nodes together; two then two. Potential exists for two disparate sets to be used in conjunction but such a conjugation bears little reasonable purpose as One only requires Le Domaine Sanitaire not Les Domaines Sanitaire. The crafting of the nodes of Le Domaine are outlined following; it bears iteration in all clears terms however that Le Domaine is as much a template as it is a schematic; while much of the structure of Le Domaine will be the same across a dozen iterations by a dozen varied practitioners the crafting of Le Domaine is much like poetry and those elements which One uses will not by necessity be the exact of an Other.

Materials for a Node
One large salt crystal
An inscriptive medium
A surface fashioned of paper or ceramic or wood
A source of flame
An offering of combustible nature
Implements with which to anoint in hallowing, blessing or sanctifying
All other things one requires or ordinarily uses for undertakings of this nature.

Hereafter follows, Le Domaine Sanitaire:

“I take up a measure of red paint, long stored among those tools upon my altar, issue into it respectfully a measure of my spittle (Bekkenkon lacking the appropriate edge to draw blood in its stead). I mix myself well into the dried ink, rousing it from some lengthy slumber with the brush for this purpose. Upon three sheets of smoked and white paper I scribe the runes Elhaz and Sowilo for their uncompromising capacities. Set in the midday sun upon my floor to dry, I take up a fourth sheet upon which I put in lead the Sator verse for its properties of dispelling, discharging and dispersing. With flame and pottery I set a fire within the verse as the smoke from its offering is made into itself spoken above its ashes. Salt, well settled in the palm of my hand and properly fitted for my fist, is set upon the spittle-in-bloods-stead. Ash divided is stacked atop Salt stacked upon Elder Futhark. Brittle rosemaries and oils likewise are aflammed, their edict set about three cornerstones to sounding of the Sator one final time.”

Le Domaine Sanitaire nodes. Photo Alan Evans
Nodes       Photo Alan Evans


Stylistically, I set about writing this in this manner deliberately. Both as someone who has studied human language in forms from literature to theatre to the spoken word in mother tongue and foreign, and as a practitioner of whatever substitute is currently in vogue for magic; I don’t feel that the language we use to conduct ourselves ought to always be the exact same as what we use for everyday happenstance. Certainly, there are times when its simply the best choice at the time but for things like this I really feel that many miss the chance to full utilize the human capacity for language. This is, in part, behind my choice of name for this Le Domaine Sanitaire; I needed to give this some kind of proper noun and what initially came to mind was the very specific idea that is behind the English use of cordon sanitaire, which grew into the more appropriate Domaine Sanitaire. Even the choice to make it Le rather than Les or Un was considered, so too was the choice to keep the name in French. In acknowledgement of this somewhat fringe approach however, what follows is a series of notes in elucidation of the above.

Most glaringly, I shall clarify that Bekkenkon (別乾坤) is the name of a Japanese kiridashi (切出) I had the chance to hand make myself and is essentially a wood whittling knife that I use sometimes for things other than wood whittling.

The materials can be divided into roughly into two areas; those things which are required (the fewer in number) and those things which each individual/group will bring to the working lain out above. The salt crystal, implement and ink to write with and surface to write the rune/glyph/sigil on and then put the salt upon are all necessary. Physically, the combination of those two things plus the ash of the combustible offering are the Node used in establishing Le Domaine. Beyond that, everything is ritualist’s choice; I use Elder Futhark Runes significantly in my pursuits so I used Elhaz and Sowilo at the time (I should like to note that while I obviously would still use Elder Futhark Runes I would make some slight changes to my choices as compared to this first one). If you practice diasporic Voodoo/Voudun then you should use a veve you feel is most appropriate; work with Ogham Fews more than any particular set of runes, use Ogham Fews.

This is a pattern throughout the remainder of the process: I had dried rosemary and knew from past research that it was at least broadly appropriate for this kind of process; in my opinion a better ‘non-denominational’ herb choice would be sage, even better in the same vein would be verbena (vervain). If a Herbalist, use your greater knowledge to make a dry poultice of better herbs for a more potent result. Got a real knack for poppets and doll magics, make one up appropriately and use that rather than herbs. Strong in the ways of Thelema or Ars Goetia, then use the appropriate substitutes for the Sator verse that I used. Happen to be a potter or sculptor in your free time or work life, then make a better vessel than the paper that I used; put thought into it and make the container a piece of working in and of itself. Not one for drawing blood and/or won’t use substitutes? Don’t need me to tell you what will work for you in place of my bit of spit and red paint.

The important thing to keep in mind when you are doing this one for yourself is that even though I came up with this, even though I have recounted my way of doing it so that you have something to work from, a large part of what goes into making the nodes for Le Domaine comes from you. You are the one who knows best what things you want to keep out, let in, need to take particular care to safeguard against or alternatively don’t need to worry about at all. If you’re a classical four elements type of person who has too much fire in your stars or not enough water in your cards then by all rights you should know best how to adjust and accommodate for yourself.

Alan Evans

A silver tongued seductee of language, consumately un-settled and mortally afflicted with fernweh, Alan Evans learns for the sake of learning and the strangers-become-companions met along the way. He pines for the gods, teaches English, learns languages, plays drums, understands people, makes love in four languages, writes and fights like only Australian grandson of an Irishwoman can and will salaciously flirt to death any ‘Wizard of Oz’ quips. Main site: Trees in the Train Station. Also contributes to The Elemental Witch.

3 thoughts on “Liberation Magic

  1. I approve of “Le”. It has the sense of bonding the individual and separate constructions into a unified field of intention. I can imagine walking out into the battlefield and a thousand miles away thinking, as I came near the home of another practitioner, “Oh, yes, now I’m close to home!”


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