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Lim_Liza_original photo by Klaus Rudolf.

Liza Lim

Sex Magic (2020) for contrabass flute with live electronics and installation of kinetic instruments 

density 2036: part vii


Sex Magic (2020) for contrabass flute with live electronics and installation of kinetic instruments 

density 2036: part vii

Sex Magic (2020) is a work about the sacred erotic in women’s history. 

This is a work about an alternative cultural logic of women’s power as connected to cycles of the womb – the life-making powers of childbirth, the ‘skin-changing’, world-synchronizing temporalities of the body, and the womb centre as a site of divinatory wisdom and utterance. 

  1. Pythoness

  2. Oracles
    i. Salutations to the cowrie shells

    ii. Womb-bell

    iii. Vermillion - on Rage (for contrabass flute, pedal bass drum, Aztec ‘death whistle’)

    iv. Throat Song (for ocarina & voice)

    v. Moss - on the Sacred Erotic

    vi. Telepathy (silent meditation)

  3. Skin Changing

  4. The Slow Moon Climbs



Relates to the Pythia, Ancient Greek name for the high priestess of the Temple of Apollo at Delphi, also known as the Oracle of Delphi. At this seat of prophecy, the pythoness or priestess entered a trance in order to channel the voice of the Divinity. More generally, a ‘woman with the power of prophecy.’


Oracle, (Latin oraculum from orare, ‘to pray’, or ‘to speak); divine communication delivered in response to a petitioner’s request. Oracles were a branch of divination but differed from the casual pronouncements of augurs by being associated with a definite person or place.

Cowrie shells

Cowrie shells have been widely circulated as a form of currency, particularly in the Arabic and African worlds taking on a raft of symbolic meanings including associations with fertility and pregnancy. Amongst their many uses, cowries have been employed in rituals for increase, for divination and healing, as amulets to ward off the evil eye, to pay for the passage of the dead, in dowries and love magic.


The womb chakra – creation energy of the Divine Mother.


Vermillion (usually spelled ‘vermilion’ but this more uncommon spelling is used to emphasise a sense of an outpouring of innumerable forces)

Deep scarlet-orange colour originally made from the powdered mineral cinnabar (mercury sulphide). Costly and highly toxic due to the mercury content, it has been widely used in the decorative arts in Ancient Rome and in India, in European mediaeval illuminated manuscripts and Renaissance paintings and in the art and lacquerware of China. In Chinese culture, this intense red is associated with blood, life force and eternity.


Connected to the pure primal power of the great destroyer Goddess, Kali.


Aztec ‘death whistle’

Double-chambered skull-shaped clay whistle that produces a howling or screaming sound. Archaeological studies associate the instrument with Aztec sacrificial, death and war rituals.


Seat of communication, creativity and truth-telling.


‘Vessel flute’ often made of clay used in both Mesoamerican and Chinese cultures.


The ‘amphibians of the plant world’, ‘mosses and other small beings issue an invitation to dwell for a time right at the limits of ordinary perception’. True intimacy involves an intertwining cross-modal sensory exchange.


See: Robin Wall Kimmerer. Gathering Moss: A Natural and Cultural History of Mosses. Oregon State Uni. Press, 2003.


Sacred Erotic

Connected to Tantric practice in which sexual energy is cultivated as a pathway to the Sacred.



Direct communication between people involving extrasensory perception.



Taught as a component of Vipassana (‘insight’) mediation, Metta is a practice of opening up a capacity for loving kindness, directing this love to ourselves and radiating it to others.

For instructions for this meditation, see:


Skin Changing

I was intrigued to read various ‘myths of matriarchy’ which tell of the original usurpation of women’s power by men. Women’s power in these stories is not primarily focussed on their life-giving role as mothers but rather, on menstruation and women’s ability to synchronise their cycles with each other and with the moon. Stephen Hugh-Jones in his ethnography of the Barasana of northwest Amazonia says, ‘women are semi-immortal: through menstruation, they continually renew their bodies by an internal shedding of skin’ (1979). During menstruation and childbirth, women come into the most intimate contact with the mysterious ‘skin-changing’, season-changing, rain-making and life-making cosmic powers.

See: article by Camilla Power,


The Slow Moon Climbs

A line from Tennyson’s Ulysses and the title of a book which looks at the science, history and cultural meanings of menopause. The book examines the ‘grandmother hypothesis’ which asserts the importance of post-reproductive women and female wisdom to human evolution. See: Susan Mattern. The Slow Moon Climbs. Princeton Uni. Press, 2019.


Liza Lim (b. 1966, Perth, Australia) is a composer, educator and researcher whose music focuses on collaborative and transcultural practices. Beauty, rage & noise, ecological connection, and female spiritual lineages are at the heart of recent works such as Sex Magic (2020) for Claire Chase; the orchestral cycle, Annunciation Triptych: Sappho, Mary, Fatimah (2019-22), and the piano concerto World as Lover, World as Self (2021). Her large-scale cycle Extinction Events and Dawn Chorus (2018) has found especially wide resonance internationally and highlights ecological listening to beyond-the-human realms.


Lim has received commissions from some of the world’s pre-eminent orchestras and ensembles including the Los Angeles Philharmonic, Bavarian Radio Symphony Orchestra, BBC, SWR and WDR Symphony Orchestras, Ensemble Musikfabrik, ELISION, Ensemble Intercontemporain, Ensemble Modern, Klangforum Wien, International Contemporary Ensemble, Arditti String Quartet and JACK Quartet. She was Resident Composer with the Sydney Symphony Orchestra in 2005 and 2006. Her music has been featured at the Berliner Festspiele, Spoleto Festival, Miller Theatre New York, Festival d’Automne à Paris, Venice Biennale, Lucerne Festival, and at all the major Australian festivals. Awards recognizing her wide-ranging career and depth of compositional practice include the Australia Council’s Don Banks Award (2018), the ‘Happy New Ears Prize’ of the Hans and Gertrud Zender Foundation (2021), and the 2022 APRA AMCOS National Luminary Award. She was DAAD Artist-in-Berlin (2007-08) and Composer-in-Residence at the Wissenschaftskolleg zu Berlin (2021-22). She was a founding member of the Academy of the Arts of the World in Cologne (2012-16) and was elected a member of the Akademie der Künste Berlin in 2022.


Lim is currently Professor of Composition and inaugural Sculthorpe Chair of Australian Music at the Sydney Conservatorium of Music. 

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