Kings Emerging Writer 2015: September

A practical choreography for an unmaking of:

One should always consider a pragmatic approach for erasure, nullification, obliteration, dissolution, and other variants in the desire for an unmaking. Without a stratagem, is it feasible to enact a proper dissemblance? Where would we lay down our incisions- we, unmaker and made, receiver and didact, a reader to a text? Is this a collusive dance of equal standing? I know explicitly what I’m hoping for, but beyond that, we must defer to the constellated authorities of instruction.

Take the preferred stance. This will be a freeform act of regimented unmaking

1) Supplant any expectations for a memorial. The method will encircle, subsume and then implode. Remnants, ashes, oscillatory recollections; they may all be flung out in the most haphazard of imperative gestures. Please resist the allure of grasping at pale souvenirs.
2) This may now be carried across to the subject of the unmaking. Portability is the mark of a robust methodology, but do not attempt to consecrate the materials. A syntax dissolves more readily when it floats. Beware imaging, marking or similar reverberations in transitional territory.
3) For demonstrative purposes, this blueprint can be spoken as an adjunct. Appeal to reason! Vanishing has a certain propensity to muteness.
4) Where does the subject find anchorage? Whisper apart the knots and plumblines, taking a more vigorous intonation toward modalities of dispersal. There are smooth faces all over a tessellation. Don’t become entranced by their reprisals. Work your way in through seismic elocution, plucking every crack and seam.
5) The fatigue will infiltrate every aspect once this becomes an undertaking.
6) Brace your constitution with a ballistic dogma, snapping promptly into spectacular posturing if the situation allows flexure.
7) Follow up with a series of undulating assertions. Shirk off doubt, hesitation or complicity. An unmaking is absolution in complete.
8) Where the trajectory becomes unclear, only divulge the presence of momentum.
9) Where momentum is arrested, punctuate.
10) Expect fragments. Let them shatter each, to the terminus. They are formative to the unmade.
11) This is the pivot for a receding pace, softly, feathered. It is time to relinquish the choreography itself, for what is sloughed away inevitably desiccates.
12) Persistence only leads to uncertainty. The unmade will rise again, a roving spectra of the ideologically damned.
13) This is a space for perfect allegations, and keep them low key.
14) If you are distilled to a frame, we will need to get rid of it. And then, divest yourself of we. The ebb of unmaking is a singular one.
15) You have until the last.
16) Repeat 1-16 until the last.
Last, bow out.
This would have been an unmaking of:

– Jess Williams

Download PDF:JW_EWP_SEPT

http://www.kingsartistrun.org.au/text/a-practical-choreography-for-an-unmaking-of/

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