Playing with the popular association of reversely played audio revealing hidden satanic messages, Tcejba Is Ehs She Is Abject renders public discourses around women in positions of power—which often frame them as evil, demonically possessed, or otherwise supernaturally dangerous—backwards, literally and symbolically. The sonic and vocal quality of this reversed performance derives its style from muga (songs used in Korean shamanic rituals known as kut), a form of knowing that has also been framed demoniac in colonial fantasies that simultaneously desire and fear the unruly power of the colonized.