If the bison stand for the eastern mountains, then the hero may be the gatekeeper who, as a later Sumerian myth describes, confronts Inanna
when she attempts to visit the underworld.
The overriding concern at this time is that the services provided by Inanna
continue to be delivered with no impact on clients.
Whether you call her Ishtar, Astarte, Inanna
, Aphrodite, or Venus, in the end, the cultural impact the goddess of love has had on human culture, art, literature, and even the very values of female beauty and aesthetics is nothing short of awe inspiring, leaving one to wonder how much of what we take for granted in the way we look at the word today is actually rooted in the forgotten world of our long-gone ancestors.
Speaking on the occasion, Inanna
said, "The message in the song is to Let Go and Let God.
Both shadows and people dance in Saburo Teshigawara's Mirror and Music, and Carolyn Carlson's Inanna
highlights the power of her female dancers.
From Enki, Inanna
attained divine decrees to transform her city into a new centre of civilisation and culture.
1) The Sumerian The Descent of Inanna
to the Underworld is dated between 1900 and 1600 BCE and is an early anonymous text" (38).
EVERYONE KNOWS THAT IMAGINATION IS an essential ingredient of theatre, but the audience at Inanna
and the Huluppu Tree, a fantasy adapted from Sumerian folklore, needs no imagination whatsoever to experience the vision described above.
1) What follows is a narrative of descent, bodily fragmentation, rescue, substitution, self-transformation (common to so many myths), and slow reascent: Inanna
is stripped of her clothes and jewels as she passes through the seven gates of the underworld; struck by her envious sister Ereshkigal, ruler of the underworld, she is "turned into a corpse, /a piece of rotting meat, /and hung from a hook on the wall," until rescued and reanimated from the Great Below by her faithful servant, Ninshubur.
had long wondered about the dark realm her sister ruled.
and Day of Creation by Soudabeh Mojaveri, Kamikaze by S.
Smith; music supervisor, Gina Amador; production designer, Minal Rath; art director, Smita Gupta; set decorator, Kalpa Dave; costume designers, Inanna
Bantu, Mandira Shukla; sound (Dolby Digital/DTS), Judy Karp; supervising sound editors, Michael Baird, Allie Fitz; casting, Emily Schweber, Shanoo Sharma.