THE PROMISE OF INANNA
COMMENTARY
I. Introduction
THE PROMISE OF INANNA is freely available for anyone to realize. It carries neither a copyright nor an authorship attribution, and no attribution should be given when the ceremony is performed.
THE PROMISE OF INANNA is not a play. It is a ceremony that employs dramatization. This ceremony is performed by three people: One performer has the three Female roles (Inanna, Ereshkigal, City Woman); another, the three Male roles (Enki, Slave, City Man); and the third, the Androgyne role (Asushunamir). These roles are assigned to the performers during the first part of the ceremony, the Introduction.
II. Performance
Performance of this ceremony requires one or more live musicians to accompany Androgyne performer when she sings and dances in the Fifth Remembrance and the Twelfth Remembrance. More music can be played during the ceremony, occasionally or continuously, with the exception of the Curse of Ereshkigal in the Ninth Remembrance and the Promise of Inanna in the Twelfth Remembrance, which require silence. Prior to performance, the musician(s) and the three performers must agree upon the role of music in that realization. The music played is always of an accompanying and supportive nature and must never overpower the performers.
Three different vocal styles are employed in performing this ceremony:
1. Narrating Voice, used by all three performers when speaking from the Narrator’s Stand: a public-speaking voice in a slow and even tempo, clear and with conviction but also compassionate and with feeling. (These words appear in italics in the text below.)
2. Intoning Voice, used only by Female performer for the Curse of Ereshkigal in the Ninth Remembrance and the Promise of Inanna in the Twelfth Remembrance: a voice that glides onto and away from pitches, one tone per syllable, with maximum clarity in the projection of words. (These words appear in italics in the text below.)
3. Singing Voice, used only by Androgyne performer in the Fifth Remembrance and the Twelfth Remembrance: melismatic and heartfelt and even somewhat sexy but never licentious or vulgar; always performed with sincerity, simplicity, and naturalness. The same qualities also define her dancing and the lyrics she sings, if any.
Gendered action in THE PROMISE OF INANNA should have a patina of deliberateness and demonstrativeness. Male movements should be angular and hard; Female and Androgyne, fluid and soft. Male voice should be louder, lower, and more uniform; Female and Androgyne, softer, higher, and more melodic.
This ceremony can be performed with or without attendants. If there are attendants, they should be situated so that they cannot see behind the screens or into the trunk.
Performances of THE PROMISE OF INANNA are to be offered free of charge, although the attendants can donate voluntary contributions after the performance, collected by the performers and/or the musician(s) and/or their associates. These funds are to be split evenly between the performers and the musician(s), or else given to a recipient of their unanimous choice.
III. Objects
Ceremonial objects are to be handled with care and respect. The Throne of Heaven is the tallest object, and is built so that the two folding screens, when closed, can be stored within it. The Narrator’s Stand elevates the narrator about six to twelve inches. It can be something as simple as a block of wood upon which the narrator can stand securely. Anything more elaborate must be collapsible, as the Narrator’s Stand must fit either within the Throne of Heaven along with the screens or inside the trunk along with the other ceremonial objects.
The narration is read from a large black book or ring binder of the spoken texts. Its pages are tinted blue, red, and purple to designate the different Remembrances read by Female, Male, and Androgyne, respectively.
All prosthetics must be of average adult proportions. They can be realistic in design or anatomically stylized to express archetypal properties.
CEREMONIAL OBJECTS
I. The Book
II. Scene Settings:
1. The Throne of Heaven
2. large screen for The Gates of the Palace/City
3. small screen for The Dungeons/Wilderness
4. Narrator’s Stand
III. Wardrobe:
A. Prosthetics:
1. two pairs of breasts, blue/purple
2. two vaginas, blue/purple
3. two sets of penis and testicles, red/purple
B. Clothing:
4. three unisex jumpsuits, grey
5. three masks, blue/red/purple
6. three pairs of slippers, blue/red/purple
7. two pairs of platform shoes, blue/red
8. two crowns, blue/red
9. two dresses, blue/purple
10. one tunic, red
IV. Props:
1. trunk
2. burlap sack with drawstring
3. three balls, blue/red/purple
4. box for sack and balls
5. box for Female costume
6. box for Male costume
7. box for Androgyne costume
8. the Light with adjustable clamp
9. skull
10. femur
11. veil, black
12. chain, black
13. pillow, black
14. jug, brown
THE PROMISE OF INANNA
a ceremony
INTRODUCTION
The three performers enter left, wearing identical unisex jumpsuits of anonymous grey: the working clothes of everyday laborers. The performers are barefoot; their hair is either short or pulled back; they wear no makeup, nail polish, or jewelry.
They are carrying the Throne of Heaven, holding it upright: a two-door cabinet of finished wood, measuring seven feet tall by three feet wide by three feet deep. A pair of long tapestry-like curtains hangs in front, one on each door, held by rods at top and bottom; they depict a blue sky with white clouds. Two performers grasp its large metal handles, one at each side; the third grasps a pair of similar but smaller handles on its back. They set it down in the middle of the space, somewhat behind and left of center.
The performers exit left. A moment later one enters left with the plain wooden Narrator’s Stand, goes to the front of the space, extreme left, and places it in that corner. The other two enter left carrying a six-foot-high folding screen that has five panels, each eighteen inches wide. As first performer exits left, they open the screen to the right of the Throne of Heaven, keeping a two- or three-inch space between them. The face of the screen is painted to represent the Gates of the Palace of Ereshkigal. The other performer enters left carrying a similar folding screen that has three panels. As the two exit left, this performer opens the screen to the left of the Throne of Heaven, also two or three inches apart. The face of the screen is painted to represent the Dungeons of the Underworld.
The other two re-enter left with a plain wooden trunk, holding it by metal handles, one at each side. They place the trunk near the Narrator’s Stand, with its back to the attendants, and the third joins them. Standing in between them, the third opens the trunk’s lid, removes a large black book, and places it on the Narrator’s Stand. This performer then removes a plain wooden box from the trunk, closes the lid, and holds the box up to the attendants.
The box is about eight inches high by eight inches wide by four inches thick. Its face is a door hinged to open to the left and closed by a metal hook and eye. Performer at right uncouples the hook and eye, and performer at left opens the box. It contains three balls, two to three inches in diameter. They are identical except one is blue, one is red, and one is purple. They rest on a folded piece of burlap. Performer at right removes the blue ball and hands it to performer at left, does the same with the red ball, followed by the purple ball, and then takes the canvas out of the box. Performer holding the box shuts its door and sets it down on the trunk, then takes the canvas from performer at right, unfolds it, and shakes it out: It is a sack about 16 by 16 inches, which closes with a drawstring. Performer holds open the mouth of the sack, and performer at left places all three balls inside it simultaneously.
Performer with sack pulls the drawstring closed, mixes the balls in the sack, then opens its mouth somewhat and turns to performer at right. That performer quickly reaches into the sack and extracts a ball and holds it up to the attendants. Performer with sack then turns to performer at left, who also quickly reaches into the sack and extracts a ball and holds it up to the attendants. Performer with sack extracts the remaining ball and likewise holds it up. After a pause, performer at center and performer at right, moving together, hand their balls to performer at left. Performer at right picks up the sack and folds it the way it was. Performer at center picks up the box and opens its door. Performer at right puts the sack in the box, as it was before. Performer at left places all three balls inside the box simultaneously and shuts the door. Performer at right couples the hook and eye. Performer at center opens the trunk’s lid, replaces the box, and shuts the lid.
Moving together, the three performers go to the middle of the space and take the places for their assigned roles: Performer who got the blue ball plays the FEMALE role and stands at the left; performer who got the red ball plays the MALE role and stands at the right; performer who got the purple ball plays the ANDROGYNE role and stands at the center.
Once all three performers are in place, they turn their gaze inward and take a collective centering breath, inhale and exhale: three times, each time a little slower than before. They then turn their gaze outward to the attendants, assuming the demeanor and voice appropriate to their roles: From now through the Conclusion, Male moves and speaks like a man, and Female and Androgyne move and speak like women.
Androgyne goes to the trunk, opens it, and takes out a large wooden box, colored blue, which she holds away from the attendants. Male goes to her, opens the hinged door of the box, and takes out a prosthetic vagina, tinted blue, which he positions between the legs of Female, buckling its thin blue straps at her hips. He takes from the box a pair of prosthetic breasts, also tinted blue, and positions them on the chest of Female, buckling its straps behind her back. He takes from the box a simple light blue dress, ankle-length and long-sleeved. Female raises her arms and he puts the dress on her, lowering it over her head. He takes from the box a pair of light blue thin-soled shoes and puts them on her feet, left first. He takes from the box a dark blue mask and places it over her face and head. It covers the upper part of her face, above the mouth, and has feminine features. It encloses the top and back of her head, like a helmet; built into it is a wig of shoulder-length, dark blue hair.
Male returns to his previous place. Androgyne closes the blue box, puts it back in the trunk, and takes out a red wooden box similar to the blue box, and holds it as before. Female goes to her and takes from the box a prosthetic penis and testicles, tinted red, which she positions between the legs of Male, buckling it as he had done to her. She takes from the box a light red short-sleeved tunic that reaches the knees, which she unfolds. Male raises his arms and she puts the tunic on him, lowering it over his head. She takes from the box a pair of light red thin-soled shoes and puts them on his feet as before. She takes from the box a dark red mask and places it over his face and head. It is similar in design to that of Female, only it has masculine features and a stiff mohawk of dark red hair.
Female returns to her previous place. Androgyne closes the red box, puts it back in the trunk, and returns to her previous place. Male goes to the trunk and takes out a purple wooden box similar to the red and blue boxes, which he holds away from the attendants. Female goes to him, opens the box, and takes out a prosthetic vagina, tinted purple, which she places on Androgyne as was done to her. She takes from the box a pair of prosthetic breasts, also tinted purple, and places them on Androgyne as was done to her. She then takes the box from Male and holds it as he did. He takes from the box a prosthetic penis and testicles, tinted purple, and places them on Androgyne as was done to him. He takes from the box a simple light purple dress, ankle-length and long-sleeved, which he unfolds. Androgyne raises her arms and he puts the dress on her, lowering it over her head. He takes from the box a pair of light purple thin-soled shoes and puts them on her feet as before. He then takes the box from Female and holds it as she takes from it a dark purple mask and places it over the face and head of Androgyne. The mask has the same feminine features as Female mask, but its wig has dark purple hair falling past the shoulders.
Female returns to the trunk. Male closes the purple box, puts it back in the trunk, and shuts the lid. Male and Female grasp the handles, pick up the trunk, and go behind small screen. They put the trunk behind large screen and come from behind large screen and return to their places. All three take a single collective centering breath.
Moving together, Female goes behind small screen, Male takes his place in the Narrator’s Stand, and Androgyne goes behind large screen. Female opens the trunk and puts on additional clothing that’s in there, leaving its lid open. Female goes to the back of the Throne of Heaven, opens its rear doors, and steps inside, leaving the rear doors open. She lowers a hinged seat and sits down. Androgyne takes the Light from the trunk, aims it at the back of Female’s head, and turns it on. Male opens the book to the First Remembrance.
FIRST REMEMBRANCE
MALE
Worshiped on Earth as the Great Mother, the Goddess Inanna is the source of light and fertility, the engine of the harvest, the bringer of joy.
When Male speaks her name, Female, as Inanna, opens the front doors of the Throne of Heaven. She is wearing a dark blue crown on her head and a pair of dark blue platform shoes that elevate her three or four inches. She stands up and steps a foot or two outside the Throne of Heaven. Androgyne follows her head with the bright Light.
MALE
Because of Her, the seasons change, crops grow and are reaped, animals breed, and people thrive.
Female steps back into the Throne of Heaven, seats herself, and closes the front doors. Androgyne turns off the Light and sets it down.
Moving together, Female steps out of the back of the Throne of Heaven, Male goes behind large screen, and Androgyne comes from behind small screen and takes her place in the Narrator’s Stand. Female and Male put on additional clothing from the trunk. Androgyne opens the book to the Second Remembrance.
SECOND REMEMBRANCE
ANDROGYNE
The Goddess Inanna was beloved throughout Heaven and Earth; but from below, She was hated.
Sister to Inanna was Ereshkigal, the Dark Goddess, ruler of Death and the Underworld.
When Androgyne speaks her name, Female, as Ereshkigal, comes from behind large screen. She has the same crown and platform shoes, but her head is draped in a fine black veil, held in place by her crown. She carries a human skull in her right hand and a femur in her left, as an orb and scepter. Male, as Slave, follows her with his head lowered. He is wearing a loop of black metal chain around his neck and carrying a large black pillow before him. She stands in front of large screen, and he kneels behind her and to her right.
ANDROGYNE
Ereshkigal sought to eliminate the light of the world, so She made Inanna a friendly offer: to be Her guest at a great banquet in honor of the Goddess of Light.
Female gestures with femur: first outward in display, then heavenward in address, and last pointing down in invitation. She turns to Male, places femur and skull on pillow, and turns away. Male rises. Female goes behind large screen, followed by Male. Female removes additional clothing.
ANDROGYNE
When Inanna revealed Herself in the Underworld, She became subject to the power of Ereshkigal and was taken prisoner.
Androgyne goes behind small screen, takes up the Light, aims it at Female’s head, and turns it on; the Light is not as strong as it was before. Female, as Inanna, stands behind the large-screen panel that is nearest to the Throne of Heaven and pushes it into the space, like opening a door into a room, and steps out in front of the screen. She is wearing neither platform shoes nor crown. Androgyne follows her, keeping the light on the back of Female’s head. Male, as Slave, comes from behind large screen and shuts the opened panel into its original position; then he grabs her left hand with his left and the back of her neck with his right hand and forcibly walks her over to small screen. Androgyne, keeping to her left, follows her with the Light. Male raises both of her arms over her head, and Female hangs there as if she was chained to the wall. Male goes behind large screen.
Male removes additional clothing, comes from behind small screen, and takes his place in the Narrator’s Stand. Male opens the book to the Third Remembrance.
THIRD REMEMBRANCE
MALE
Inanna was held captive in the lowest dungeons of the Underworld.
Chained to the wall of her cell, She slowly began to die, and as Her life slipped away, so did the light vanish from the Earth, until it was gripped in a perpetual winter.
Crops withered, animals faced extinction, babies were stillborn.
The people prayed to Heaven without ceasing and begged for the return of the light.
As Male speaks, Female, as Inanna, steadily droops, and Androgyne slowly dims the Light on her. After Male’s last line, Androgyne turns off the Light. Moving together, Female takes her place in the Narrator’s Stand, Male goes behind large screen, and Androgyne goes behind small screen with the Light. Male puts on additional clothing from the trunk. He then steps inside the Throne of Heaven and sits down. Behind him, Androgyne aims the Light at the back of his head and turns it on. Female opens the book to the Fourth Remembrance.
FOURTH REMEMBRANCE
FEMALE
From His throne amongst the stars, the great God Enki heard the prayers of humanity.
To rescue the Goddess Inanna from the depths of the Underworld, He would create a mortal of unique gifts, having the compassion and beauty of a woman, and the strength and cunning of a man.
When Female speaks his name, Male, as Enki, opens the two front doors of the Throne of Heaven. He is wearing a dark red crown on his head and a pair of dark red platform shoes that elevate him three or four inches. Male stands up, steps out of the Throne of Heaven, and slowly walks down to the front of space; Androgyne keeps the bright Light on his head. After Female finishes her second line, Male gestures with his right arm thrown back, grand and inviting, toward the Throne of Heaven. Using an adjustable clamp that’s attached to the Light, Androgyne secures the Light to the Throne of Heaven, keeping it aimed at Male’s head.
FEMALE
And so He gave life to Asushunamir who was androgyne, female and male both.
When Female speaks her name, Androgyne, as Asushunamir, raises the seat, steps through the Throne of Heaven, lowers the seat, walks over to Male, and kneels at his right. He blesses her, placing his right hand on her forehead. He then moves his hand to her left cheek and guides her up to a standing position. He removes his right hand and with his left points downward at the large screen.
FEMALE
Then He sent her below to the Land of the Dead.
Androgyne kneels and touches her forehead to the ground before Male; then she gets up, goes over to large screen and kneels before it. Female leaves the Narrator’s Stand and goes behind small screen to the rear of the Throne of Heaven. She unclamps the Light from the Throne of Heaven and keeps it on Male’s head as he steps back into the Throne of Heaven, seats himself, and closes the doors. She turns off the Light.
Moving together, Female sets down the Light and puts on additional clothing, and Male steps out of the back of the Throne of Heaven, removes additional clothing, and puts it back in the trunk. Male then comes from behind small screen and takes his place in the Narrator’s Stand. Male opens the book to the Fifth Remembrance.
FIFTH REMEMBRANCE
MALE
Asushunamir found herself in the Underworld, before the gates of the palace of Ereshkigal.
When Male speaks her name, Female, as Ereshkigal, comes from behind large screen. She wears platform shoes, crown, and veil, and carries skull and femur as before. She gazes with fascination at Androgyne, and Asushunamir lowers her forehead to the ground before her. Female indicates with femur for Androgyne to stand. Androgyne stands obediently. Female indicates with femur for Androgyne to turn around. Androgyne turns obediently.
MALE
The androgyne’s special beauty fascinated the Dark Goddess, and She ordered that a great feast be held to celebrate the arrival of Asushunamir, a living mortal in the Land of the Dead.
Female looks to right end of large screen and gestures with femur for something to be brought out.
MALE
Tables were produced laden with food, and wine flowed in a constant stream.
Androgyne looks about in awe at all the activity and opulence around her. Female rests femur in her right arm and mimes eating and drinking with her left.
MALE
To thank the Dark Goddess for Her generosity, Asushunamir sang and danced in Her honor.
Androgyne curtsies to Female, who stops eating and drinking. Androgyne sings and dances.
MALE
Ereshkigal was enthralled and decided to keep the androgyne as Her lover. She offered to give Asushunamir anything she wanted within Her vast domain.
Female gestures expansively with skull and femur.
MALE
Asushunamir replied that the Water of Life was said to arise in the Underworld, and she wanted to see it.
Androgyne gestures with one arm, first wriggling upward until she’s pointing straight up, and then dipping below, pointing to the ground. Androgyne folds her hands over her sternum and lowers her head.
MALE
The Dark Goddess at once dispatched Her slave to fill a jug from the Water of Life and bring it to Asushunamir.
Female stamps her right foot twice. She resumes her mime of eating and drinking, only more gluttonously than before.
MALE
The celebration resumed, but Asushunamir took care not to eat any of the food of the Underworld.
Androgyne looks to her left, as though being offered a platter of food, and shakes her head modestly, touching her fingertips to her hips.
MALE
Her goblet of wine she put to her lips but only pretended to sip; she drank none of the wine of the Underworld, and instead spilled it on the ground when no one was watching.
Androgyne looks to her right, mimes holding up a goblet to be filled. She turns away as she brings it to her lips, and then lowers her arm and pours it on the ground. Androgyne repeats both eating and drinking activities over Male’s final three lines, implying many servants offering food and wine.
MALE
When the slave arrived with the large earthen jug that had been filled from the Water of Life, he set it down before Asushunamir.
As she gazed into it, the revelers around her grew heavy from feasting and drinking, and they began to fall asleep.
Even the Dark Goddess slept, and when Asushunamir was the only one still awake, she picked up the jug with the Water of Life and left the palace of Ereshkigal.
Male goes behind small screen, puts on additional clothing, and gets jug from the trunk. Male, as Slave, comes from behind large screen, wearing the chain and using both hands to carry the jug. He first shows it to Female, bowing his head. Still gorging, she nods back. He brings it over to Androgyne and sets the jug down before her.
As Androgyne gazes into it, Male returns to Female and bows again. Slowing down in her feasting, she nods back as before. Male goes behind large screen, gets pillow, and comes from behind large screen carrying pillow. He goes behind Female and to her right and then kneels, holding up pillow. Female takes a step to her left, and Male places pillow on the floor where she was standing. Female seats herself on pillow with weariness. She rests skull and femur in her lap and declines more food and wine. As Androgyne continues gazing into the jug, Female’s head starts drooping in slumber. Male’s head begins to nod too. Seeing that Female is sleeping, he settles down to sleep as a dog would. Androgyne sees that both Female and Male are sound asleep. She looks around her, picks up the jug, tiptoes slowly past Female and Male, and goes behind large screen.
Female with skull and femur and Male with pillow go behind small screen and remove additional clothing. Moving together, Male comes from behind small screen and takes his place in the Narrator’s Stand, and Female comes from behind large screen and takes her place from the Third Remembrance: Now she droops more severely. Male opens the book to the Sixth Remembrance.
SIXTH REMEMBRANCE
MALE
Asushunamir descended into the dungeons of the Underworld, searching for the Goddess Inanna.
No light had ever reached this darkness, so she always kept her free hand on the rocky wall.
After a long time Asushunamir perceived a faint flicker of light.
She drew closer and saw that the Goddess Inanna was near death.
When Male speaks her name, Androgyne, as Asushunamir, comes from behind large screen, carrying jug in her right arm and keeping her left arm up at her side in a half salute, palm open. She moves cautiously, as though feeling her way in darkness, and starts to describe a large awkward curve across the space as she slowly heads toward Female, as Inanna, at small screen.
MALE
Asushunamir entered the cell and lowered the jug with the Water of Life so that a single drop fell upon the dying Goddess.
At once Inanna took breath and awoke.
The cell was filled with Her light, and She ascended to Heaven.
Male goes behind small screen, gets the Light, comes from behind large screen, and stands at Female’s left. Male aims the Light at her head and turns it on: It’s even dimmer than it was at the end of the Third Remembrance. Androgyne reacts to it and starts heading more quickly toward Female, who is hanging limply, barely breathing. Androgyne stands before Female and lowers her body, slowly tilting the jug until its lip touches Female’s forehead. The Light grows stronger, into the brightness of the First Remembrance. Female, restored to vitality, frees her hands and stands erect. She steps away from the screen, and Androgyne puts down the jug, kneels before her, and lowers her forehead to the ground. Male pushes back the small-screen panel that is nearest to the Throne of Heaven, opening it like a door, and backs through it, still keeping the Light on Female. She slowly backs away through the open panel and shuts it. Male turns off the Light.
Moving together, Female puts on additional clothing and seats herself in the Throne of Heaven; Male sets down the Light, comes from behind large screen, and takes his place in the Narrator’s Stand; and Androgyne with jug goes behind small screen. Androgyne takes up the Light, aims it at the back of Female’s head, and turns it on. Male opens the book to the Seventh Remembrance.
SEVENTH REMEMBRANCE
MALE
The Goddess Inanna returned to Her throne amongst the stars.
The light blessed the Earth once again, and the cycle of the seasons resumed.
Crops grew and were harvested, animals bred, and people thrived anew.
Rejoicing was heard throughout Earth and Heaven.
When Male speaks her name, Female, as Inanna, opens the two front doors of the Throne of Heaven. When the doors are fully open, she stands up and steps a foot or two outside the Throne of Heaven. She is wearing platform shoes and crown as before. Androgyne follows her head with the bright Light. After Male’s last line, Female steps back into the Throne of Heaven, seats herself, and closes the doors. Androgyne turns off the Light.
Moving together, Female steps out of the back of the Throne of Heaven and puts on additional clothing; Male goes behind large screen and puts on additional clothing; and Androgyne sets down the Light, comes from behind small screen, and takes her place in the Narrator’s Stand. Female, as Ereshkigal, and Male, as Slave, come from behind large screen. She has skull and femur and is wearing platform shoes, crown, and veil as before. He has pillow and is wearing chain as before. They resume their places from the Fifth Remembrance. Androgyne opens the book to the Eighth Remembrance.
EIGHTH REMEMBRANCE
ANDROGYNE
In her palace deep below the Earth Ereshkigal awoke.
She saw that both Asushunamir and the jug with the Water of Life were gone.
When Androgyne speaks her name, Female, as Ereshkigal, stirs and awakens. She sees that Asushunamir and jug are not there. She stands up, looks about her in dismay, and stamps her foot in anger. Male, as Slave, jerks awake, kneels before Female, and lowers his forehead to the ground.
ANDROGYNE
The Dark Goddess ordered that the palace be searched.
Female indicates with femur for Male to search. Male gets up, makes a quick tour of the space in front of large screen, turns to Female, and shrugs helplessly.
ANDROGYNE
When neither was found, Ereshkigal decided to search the dungeons.
Female, enraged, goes behind large screen. Fearful Male grabs pillow and follows her.
Male removes additional clothing and puts it in the trunk along with pillow. Androgyne goes behind large screen as Male comes from behind small screen and takes his place in the Narrator’s Stand. Androgyne with the jug comes from behind small screen and resumes her place from the Sixth Remembrance. Male opens the book to the Ninth Remembrance.
NINTH REMEMBRANCE
MALE
In the absolute silence and darkness of the dungeons of the Underworld, Asushunamir arose.
She turned around, placed her other hand on the wall, took up the jug with the Water of Life, and began her long journey back to the palace of Ereshkigal.
When Male speaks her name, Androgyne, as Asushunamir, stands up. She turns around and puts up her right arm as she had done with her left. She feels in the darkness for the jug, takes it up with her left arm, and begins walking with slow caution. Feeling the space between small screen and the Throne of Heaven, she stops and pushes back the same small-screen panel used in the Sixth Remembrance, but opens it only a small distance, just large enough for the jug.
MALE
For fear of being found with the Water of Life, she took care to hide the jug in a deep crevice within the wall.
Androgyne puts the jug behind the screen, pulls the panel shut, and resumes walking, her right arm up. She heads back, taking the same curve as before.
MALE
But before Asushunamir could emerge, her path was barred by Ereshkigal.
When Male speaks her name, Female, as Ereshkigal, comes from behind large screen. She is wearing platform shoes, crown, and veil, and holding skull and femur as before. Androgyne stops.
MALE
The Dark Goddess saw that Her prisoner was gone, and She demanded to know who had freed Inanna and what had happened to the jug with the Water of Life.
Female points femur first at small screen and then at Androgyne. Androgyne kneels before Female, then raises her left hand in a half salute and places her right hand on her heart.
MALE
Asushunamir replied that the jug with the Water of Life should be in the palace where she left it; that everyone had fallen asleep and so she started to explore but had gotten lost; and that she had never seen any sign of Inanna.
Female lunges in rage at Androgyne, who shrinks back in terror and lowers her forehead to the ground.
MALE
In a fury, the Dark Goddess placed Her Curse upon Asushunamir, and then banished the androgyne to the surface of the world.
Female uses an intoning voice for the Curse.
FEMALE
If I could prove that you did this, I would kill you right here.
But I know that you have done it, and so I curse you.
I curse you and all your kind.
You will eat the garbage in the streets and drink the water from the sewers.
Your parents will disown you, and your siblings will deny you.
The lowlifes will spit on you, and the mighty will put you in prison.
You will have to keep to the shadows always, because wherever you go, you will be met with loathing and ridicule, until at last you come to hate yourself.
Female raises her hands between her face and Androgyne and pushes them out in a gesture of blotting Androgyne forever from her sight.
Moving together, Female goes behind large screen and Male goes behind small screen. Female removes additional clothing, and Male puts the jug in the trunk. Female goes to left end of large screen and Male goes to right end. They collapse it, turn it around, and reopen it, positioned as before. This face of the screen is painted to represent the Gates of the City. Female goes to left end of small screen and Male goes to right end. They collapse it, turn it around, and reopen it as before. This face of the screen is painted to represent the Wilderness. Female comes from behind small screen and takes her place in the Narrator’s Stand. Female opens the book to the Tenth Remembrance.
TENTH REMEMBRANCE
FEMALE
Asushunamir found herself on the surface of the Earth, outside the gates of a great city where celebrations were being held in thanksgiving for the return of the Goddess and Her light.
When Female speaks her name, Androgyne, as Asushunamir, looks up. Hesitantly, she stands up and examines the gates of the city. Realizing she is alive and on Earth, she presses her palms together at her sternum and her lowers lips to her fingertips.
FEMALE
The androgyne gave thanks for having survived her journey through the Underworld.
But when she joined the company of men and women, all mortal as herself, she felt the lash of the Curse of Ereshkigal.
Female goes behind small screen. Male, as City Man, comes from behind large screen. He sees praying Androgyne and at first is attracted to her; then his head jerks with realization that she’s androgynous. He flails his left arm toward large screen, urging someone to come out. Androgyne notices and turns away from him, but Male grabs her arm. Female, as City Woman, comes from behind large screen. Male, shaking with silent laughter, pulls Androgyne over to Female and shows her off, indicating her male genitals. Female is horrified by the sight. Androgyne pulls her arm free and backs away. Female steps behind Male and Male lunges at Androgyne. Androgyne runs behind large screen. Male and Female follow in angry pursuit.
Female puts on additional clothing and seats herself in the Throne of Heaven. Male comes from behind small screen, takes his place in the Narrator’s Stand, and opens the book to the Eleventh Remembrance.
ELEVENTH REMEMBRANCE
MALE
Fearing for her life, Asushunamir fled the city and retreated into the wilderness.
When Male speaks her name, Androgyne, as Asushunamir, comes from behind small screen. In a slow daze, she moves before it circles.
MALE
She wandered there, aimless and alone, until the day came when she could go no further. She collapsed in the dust and she wept and she cursed the moment she took her first breath.
Androgyne breaks down in silent weeping and falls to the ground.
Male opens the book to the Twelfth Remembrance.
TWELFTH REMEMBRANCE
MALE
From Her throne amongst the stars, Inanna saw how Her savior was suffering.
The Goddess revealed Herself to Asushunamir, and the androgyne saw that the Goddess was weeping too.
With Her tears, Inanna gave Her Promise to Asushunamir.
Male goes behind small screen, takes up the Light, aims it at the back of Female’s head, and turns it on. Female, as Inanna, opens the front doors of the Throne of Heaven. She is wearing platform shoes and crown. When the doors are fully open, Androgyne, as Asushunamir, looks up at Female. Female stands up and steps a foot or two outside the Throne of Heaven. Male follows her head with the bright Light. Female puts her hands to her eyes in weeping, then lowers them. She uses an intoning voice for the Promise.
FEMALE
I cannot lift the curse of Ereshkigal, for her power is too great.
But I can soften it, the way the spring softens the winter.
And I do this for all my children: for the women who love women, and the men who love men, and the women who have the spirit of a man, and the men who have the heart of a woman.
If you remember me, I will give you the gift of prophecy.
I will give you the ability to heal others, in body and in spirit.
The people who befriend you will be blessed with good fortune.
Those who mistreat you will meet with evil.
And when you wear my robes, I will dance in your feet and I will sing in your throat, and no one will be able to resist your enchantments.
I will harbor all my children, until the earthen jug is brought to the surface of the world and the light of day.
Then the curse of Ereshkigal shall be lifted, and you will be seen once again for what you really are: those who have come to renew the light, the ones whose faces are radiant.
Female turns to Androgyne, who lowers her forehead to the ground. Female holds out her hands to Androgyne and she gets up, taking her hands, and stands before her. Female releases her hands. Androgyne sings and dances.
Androgyne kneels before Female. Female blesses her, touching her forehead with her right hand; then she takes the face of Androgyne in both her hands. She lets go and Androgyne lowers her forehead to the ground. Female steps back into the Throne of Heaven, seats herself, and closes the doors. Male turns off the Light.
CONCLUSION
Male puts the Light back in the trunk, and Female steps out of the back of the Throne of Heaven, removes additional clothing, and puts it in the trunk. Female goes to left end of large screen, Male goes to right end, and they collapse it. Androgyne gets up. As Female and Male carry large screen off left, Androgyne goes behind small screen and collapses it. As Female and Male enter left, Androgyne carries small screen off left. Male goes to the trunk and Female takes the book from the Narrator’s Stand and places it in the trunk. Male closes the lid and they pick up the trunk and carry it off left as Androgyne enters left, picks up the Narrator’s Stand, and carries it off left. All three enter left, pick up the Throne of Heaven as in the Introduction, and carry it off left.
They enter left and stand facing the attendants: Female, left; Male, right; Androgyne, center. They take a single collective centering breath, inhale and exhale; then, moving together, they slowly remove their masks, which they hold before them. After a pause the three performers exit left.
(This ceremony was written in 2011 and appears here for the first time.)
NICOLE V. GAGNÉ 