{"id":325,"date":"2012-03-11T21:09:47","date_gmt":"2012-03-11T21:09:47","guid":{"rendered":"http:\/\/lovingthespider.net\/?page_id=325"},"modified":"2012-04-21T21:32:14","modified_gmt":"2012-04-21T21:32:14","slug":"missy-girl","status":"publish","type":"page","link":"https:\/\/lovingthespider.net\/?page_id=325","title":{"rendered":"Missy-girl"},"content":{"rendered":"

\n

\n\"\"\"\"<\/p>\n

\nMissy-girl
\ngot her self
\nesteem resurrected
\none fine evening
\nover at Louise’s <\/p>\n

a holy rig
\ncranked
\nforgetfullness
\nup her arm
\ninto her brain
\nthen the medicine
\nlet her vomit out
\nyears of fear
\nemotional poison
\npercolated out of her pores
\nand when she cleaned
\nherself out
\nthe street looked
\nsofter
\nand her body felt
\nskinned deer fresh
\nshe’s learned transformation
\nbecomes one with
\nthe sweet trinity
\nof needle
\nmedicine
\nself <\/H1><\/p>\n

she belongs now to a
\nsecret
\nmedicine society
\nshe’s first order in
\na protective web of
\nmembers
\nthey guard
\nstrung by the
\nbelief that
\nteeze rush
\nis street zen
\nritalin is the
\nmama-cocoa helper
\nand heroin is the
\npower line
\nprayer line
\nto reach the place
\nof the spirits. <\/p>\n

Her protection
\nher therapy
\nit’s a cloak covering her
\nnakedness
\nso the johns can’t touch
\nthe bliss that vibrates
\nover her skin
\nthe film, the shield of
\nsurface tension
\nenvelopes her
\nsaves her from trick-contamination
\nit’s safe sex for those
\nin emotional recovery <\/p>\n

Missy-girl
\nshe’s not fearful anymore
\nto reach out to her
\ninner-child.<\/p>\n

<\/p>\n

\"winterindex.html\"<\/a>\n<\/div>\n<\/blockquote>\n



\n<\/div>
\n

\"Ahasiw<\/p>\n

AP: Ahasiw\u2019s 1992 performance \u201cWhite Shame\u201d was a watershed moment for Ahasiw, myself, and likely anyone present. It defined an artistic, spiritual, moral, political and artistic aesthetic, and created a reference point against which I have measured and defined all performances since. In echoing the Sundance with his repeated action of sewing eagle feathers to his chest, but in a secular setting, and one that was serving alcohol, Ahasiw forced everyone who was present to examine their own commitment to their belief structures, whether those structures were formed around artistic pursuits, codified in religion, or grounded in what is referred to as \u201ctraditional\u201d First Nations spiritual practice.
\nI was profoundly moved, and shaken, by what I saw that night, but because I was working as the performance technician I was one step removed from what took place. It was several days later when it really hit me. I was putting away equipment at the gallery when I suddenly began to weep uncontrollably. Everything had changed. I could never go back to doing theatre: I had to make work that packed that kind of kinetic, emotional charge, or I wasn\u2019t interested in making performance work at all.<\/h4>\n

<\/div>

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