Exorcism as Sonic Restoration in the Universal Christina Church

In the Universal Christina Church, as taught and interpreted by Elazar Majors, exorcism is not merely a ritual of expulsion—it is a sacred confrontation between divine resonance and spiritual dissonance. It is understood as a liturgical act in which the human vessel, afflicted by invasive spiritual forces, is restored to its original harmonic alignment with God. Majors teaches that possession is not simply the presence of evil, but the distortion of the soul’s vibratory field, a rupture in the sacred frequency that binds creation to Creator.

Exorcism, then, is the re-tuning of that field. It is performed not through theatrical incantation, but through calibrated prayer, sonic invocation, and the invocation of divine names whose utterance carries vibrational authority. The rite begins with purification—not only of the afflicted, but of the space, the officiant, and the instruments used. Psalms are sung in ancient cadence, not for their semantic content alone, but for their tonal architecture. The afflicted is not treated as a victim, but as a soul in exile, whose return must be negotiated with reverence and precision.

Majors emphasizes that the exorcist must be attuned—not merely trained. He must be capable of discerning the spiritual topology of the possession: whether it is ancestral, traumatic, parasitic, or covenantal. Each requires a different liturgical geometry. The rite may involve sacred oils, resonant bells, or even silence—used not as absence, but as a medium of divine presence. The goal is not to cast out, but to restore sovereignty. The demon is not merely banished; it is named, understood, and dissolved by the reassertion of divine order.

In this theology, exorcism is not warfare—it is healing. It is the reweaving of the soul’s torn fabric, the reillumination of the inner temple. And it is always done in humility, for the exorcist is not the victor, but the vessel through which the Spirit reclaims what was lost.

Eleazar Majors