This piece is about that very moment that we press against our self imposed, internalized prohibitions.
Contemplating the notion of prohibition led to creation of this piece. Prohibition is the denial of desire and want, to create perfection and ‘goodness’, of self discipline often juxtaposed with blind internalization of arbitrary rules. Abiding by a prohibition may hobble us yet give us peace. To break a prohibition may be awkward, painful, messy, freeing yet fraught with new consequences. The constant dialogue within of opposing desires, a multitude of self synchronized in the flesh of one.
That very moment that we press against our self imposed, internalized prohibitions.
Those who break prohibition are equally attractive and repulsive to others. To witness breaking of prohibition challenges.
The eggs? Eggs are perfect. Eggs hide a potential. To break, or watch an egg breaking, creates tension and stress in the witness.
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Music begins the piece. The words and tone seeming familiar, yet when focused on, it’s unintelligible.
(Midori created the sound using samples and remix of reversed recordings of High Latin Mass, Zen chants, Cantor chanting and the Quran)
The One Who Binds is dressed in all black. On a tarp in the middle of the floor, surrounded by the audience, she makes a double layered circle of eggs with an entry point, about six feet in diameter, The One Who Binds bring in The Bound, a semi nude person. The One Who Binds applies raw eggs, woven into grass cords, on The Bound across her eyes, mouth, in her hands, down three points of her torso from chest through her crotch, on her back and on feet. The Bound is tied with cord – simply, asymmetrically and with some mobility, resembling the form of the seated Bodhisattava. The One Who Binds leaves and closes the circle of eggs. The Bound struggles greatly and rolls around to make her way out of the circle, pressing against the limitations and self imposed bonds. Eventually she becomes stillness.